Love, loss, and the relationship.
Memory as an image, not always an image that involves you but one that transcends the boundaries of its media.
The paintings in this portfolio are that of personal memories abstracted from photographs and film stills. There are two intimate dialogues at play within my practice. The balance of image and title and the conversation between each piece of work. The title tends to give some personal insight into the relationship/subject of the piece and the image skews towards the impersonal. An image of something you may know or recognise but isn’t necessarily personal for you, it’s the less immediate of the two. For instance a visual indicator like the colour or brush work within a piece may create a scenario that becomes familiar to you when coupled with the title. In ‘Mother Sitting I & II”, a scene from a children’s film becomes darker, somewhat comedic even violent. The narrative shifts from what the film scene is depicting to what the film scene may be recalling and the deeper themes of the film itself.
The work is more than just a recreation or a reference, it’s a reduction of the image to an atmosphere. An inspection into what is happening within a single frame of a memory. The changing of colour, the removal of objects the fluent movement of paint is all purposeful in my investigation of the image. ‘Post-War Sun Lover’ is possibly the clearest depiction of this, my grandfather caught mundanely sunbathing in a photograph begins to speak of his past through the expressive nature of the work.
What I’m chasing is to capture a single moment in time, to find what makes the feeling of that moment and conjure it tangible for myself and others to see. My practice is meditation, it is heavy and meaningful. When ‘Francis Bacon’ said painting was “The crystallization of the moment of existence” he summarised the goal of my practice.