Month: March 2018

Venezia

Powerful male nude wearing mask on yellow ground with text

 

Venezia. 2018.

Oil on canvas. 190x120cm

This expressionist, powerful masked figure on yellow ground highlights my interest in games of concealment and exposure. The figure is nude, but the mask offers much erotic speculation and narratives. The title 'Venezia' sets the plot at a specific time of the year, when Venice is animated by the Carnival. As the text follows the line of the figure's left shoulder, it blurs the boundaries between language and painting.

The work evolved over a couple of years. This allowed for erasures and about turns, creating surface interest as well as looking at the relationship between line and colour, or painting and drawing.  Mine is an attempt to re animate, with traditional material, the idea of the nude and make it interesting to our media saturated gaze.

 

Eve

Eve. 2014,

Acrylic on canvas. 120x180cm

A companion work to ‘Adam’, this painting reads as a diptych with the female nude’s outstretched arm echoed in the companion work above. However, the two arms don’t actually connect. Both images are rear views of the figures, avoiding issues relating to the biblical references after ‘The Fall’ and the  subsequent need to cover in self consciousness.

Both images have naming texts in right hand corner.

Adam

Adam. 2014.

Acrylic on canvas. 180x120cm

Historically, I generally named my paintings: ‘Untitled’….as I felt that meaning and intention were screamingly obvious and naming seemed an overstatement. It seems however, that that it was not the case. And is still not the case.

Gallery catalogues or wall texts are frequently the first port of call to a visitor. They are effective mediators and facilitators, pointing the viewer in a particular direction, wether that be the intention of the artist or the curator.

Incorporating the title of work into the painting, I simplify and reduce the anxiety of looking for ‘meaning’ on first encounter with new images. This also helps as an aide memoire in contextualising new paintings in previous bodies of work. It’s a useful tool as my meanderings are often radial and texts act as de coders.