painter is always in a constant state of searching and learning.
Groupings of paintings and exhibitions are visual representations
of this. This process of searching is intense and must allow
the artist to become involved with the immeasurable. In this
process the artist must let go of the idea of making pieces
of art. Ultimately it is not the product, which is meaningful,
but rather the process. It has been said, the more deeply
a thing is engaged in the immeasurable, the more deeply lasting
is its value and that only when the artist no longer knows
what he is doing does the painter do good things. This
grouping of paintings are representations of my involvement
with the immeasurable the placeless.
The content of these paintings is not overt, it is neither
landscape nor are they representations of specific places.
The images struggle to inter-relate. They are physical, spiritual,
material, emotional, and intellectual. They are physical in
the sense that place is suggested or evoked. They are reminiscent
of an experience of a place, but are more like a dream- the
placeless place. They are material in that they are made of
paint and canvas and symbolize aspects of our physical and
material reality. They are emotional in that they engage every
viewers individual memories and experiences of places
they have been or dreamed of the visual histories.
They are spiritual in that they explore the placeless.
Placelessness is the interval between spiritual and material
realities. The paintings are manifestations of the interplay
between the inner and the outer. In this sense they are a
reflection of a very human state, the relationship between
our inner being and its relationship to the physical or outer
world - matter and spirit. They are an evocative place rather
than a location. They question "the earth of limitations"
and they seek out the "domain of the Placeless".
They explore the interval between; the land and the sky; water
and land, water and sky, dream and wakefullness. There are
many layers within that interval, which explore the tranquility
of nature and its changeless moods, the shifting of night
to day, and day to night and the changes of season. They are
contemplative spaces, which explore relationships of movement
and stillness, the calm and the restless.
The suggestive and the descriptive co-exist, which gives both
clarity and a sense of the veiled or hidden they are
illusive and real. The spaces are sometimes simultaneously
positive and negative voids, translucent and solid, above
and below, cool and warm. They question and explore the outer
world with an inner eye. In all poetry or in any form of communication,
meaning occurs between what is invented and what is invited.
The sense of place is evoked rather than described.
The material characteristics of the paint are significant
as subject matter and are content in the work. The translucency
of water is expressed through opaque mediums; plaster, paste
and paint. This juxtaposition creates a tension, which invites
and informs. The undercurrent of line throughout the paintings
is a recurrent theme most evident in the sense of horizon.
The line between the land and the sky is sometimes suggested
and at other times is descriptive, both acting to separate
and unite, and it is this tension which animates the place.
The interplay of masses of calligraphic lines and lightly
gestured lines, both, concrete and suggestive. The qualities
of line also suggest paths or routes. The lines and markings
evoke objects, and may represent; the individuality of the
markings of ones hand, the written language, or perhaps
the roots beneath the earth.
Movement and stillness are at play. The perspective or viewpoint
in the paintings is most often from above, the eye in a state
of flight. The space is often endless, filled with variety,
bathed in light and dark and changes of atmosphere. In some
works there is a sense that one could move forever through
the space and it would endlessly be changing, and in others
there is a sense of one flying towards and landing at the
apex of the interval. This energy and movement is very important
to the painting. It might be that this power or energy
is used to maintain the vitality of the whole composition.
Containment of energy in the work of art is vital to its life
and presence in space. This aliveness comes about because
the limitation or boundary of the work is accepted and all
power occurs within, and relates back to it. The flow of energy
through all parts in the work provides for the equalization
of forces. The equalization is a balance between the static
and the dynamic.
The process of art, like that of all organic growth depends
upon openness to energy. "In all things of beauty, the
concrete and the ambiguous occur simultaneously in time and
space." This juxtaposition creates struggle or tension.
"This struggle is search, and is a human condition. It
is a positive force, which requires submission to the intuitive,
detachment and a willingness to allow inspiration to
connect with knowledge."
Book of Certitude. Bahaullah, page 157