Towards Gold Cap
My current work explores the experience of mesmeric moments when gazing at the glittering reflected light on the surface of the sea: images on the brink of dissolving without relinquishing their recognisable origins. THE question of how to render the quality of the experience, to create an emotional charge for the observer –contemplative and nebulous at the same time, is the creative force driving my work.
The work comprises drawings & paintings based upon my own photographic images. The intention is for the quality of the medium to respond to the light and sea’s surface without being representational – the whole to be a record of a relationship I’ve had with a set of materials and a methodology.
The work comprises drawings & paintings based upon my own photographic images. The intention is for the quality of the medium to respond to the light and sea’s surface without being representational – the whole to be a record of a relationship I’ve had with a set of materials and a methodology.
The photographs are captured from visits to the sea, when the light, cloud, weather, wind & sea surface form the image.
Studio working invokes memory, removes distractions and permits an intense and close relationship with the work to develop; it became important that the viewer enter into an intimate dialogue with the work reflecting the working method, to be fully engaged with each image to the exclusion of all else.
The works are not of the sea, but adopt it as a reflecting medium to provide an image for deconstruction and internalising. The method is a process of simplification to extract the core of the vision and ultimately allow the work to stand alone without comparison to the subject.
Each image conveys the captured moment that presents itself, is gone, then is nearly, but never quite, re-captured; is nebulous and mesmeric; and so has the spiritual quality that references the human condition.
