Recently I have focused on debris piles and their ambiguous
origins.
The piles are recognized to be accumulations of a history that
might still be visible or might be obscured. The situation that led to the
formation of the pile has become an enigma. If anything they have become an
abstraction. In the forms and shapes landscapes can be discovered, the remnants
of events and situations become landscape. Faint echoes of shelters, ribs,
pallets, trees all create a sense of the presence of a raft. A raft lost at
sea.
Images collected of a wide range of piles are being used as a
starting point for the paintings and drawings. Information is being added or
removed. Barricades erected in the streets become in disguisable from
construction site materials left after the building of houses. Humans are
removed from the scenes to further strengthen the removal from direct
reference. All drawings and paintings are now done from memory.
I seem to always question the position of a perceived fixed
point in time. Quickly realizing that information is constantly being
reinterpreted and new meaning and readings can be attached to both the
personal, a historical event and a work of art.
I have been intrigued by the way piles, statues and memorial
sites are a result and expression of a time bound, subjective interpretation of
history.
Temporary events are constantly related to and measured against
previous situations, history and art history.
Events, especially current, seem the last hooray of an incubation
period. Or at least that is the feeling I get. Images of barricades thrown up
in the street seem to talk about the tensions that grew under the surface,
accumulating in a reaction.
The rise and fall of political systems might be seen as
mirroring the growth seasons.
While working on ideas in a studio, the creative process seems
to be responsive to the world and informed by a similar incubation period.
When painting and drawing greenhouses I am creating sheltered
situations. These are structures that protect and nourish seedlings. My
approach is one of lyricism, using the structures as symbols. In them I create
situations that are sometimes poetic, sometimes unbelievable. I am giving
myself the freedom to manipulate what grows inside of them to the extend that I
feel is necessary to make a drawing or painting that questions more then it
answers.
Exhibit runs until Aug. 31, 2012
Slide Room Gallery
2549 Quadra St. Victoria, B.C.
Phone: 250-380-3500
Phone: 250-380-3500
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