In biblical terms, it is written that the Sun, Moon and Stars were created on this day. Together with its companion, ‘Day Four’, this work makes use of abstract marks and gestures to suggest a cosmology where the history and the fate of the universe come together. Simplistically, it is a site where the Big Bang theory and Judeo/Christian beliefs co exist in a visually explosive cacophony. This work attempts to bring together modern observational astronomy and particle physics, with mythological, religious and esoteric ideas.
Swirling drips and marks sweeping across the work allude to the fourth day of Creation. Irrespective of ones spiritual beliefs, one can but wonder at the magnificence of Nature. However we consider Creation, no words can approximate the force and power that made it happen. It is truly awesome.
I have always been fascinated by the almost pre historic allure of trees post pruning. Branches contort and assume sculptural gravitas that speak of wisdom and history as they prepare for winter. I never tire of the way glorious ganglionic tips conclude and contain tree stems like an old Shaman’s gnarled hands.
Heroically, a single tree, flanked by the rectilinear series of houses is important at centre stage. Small distant trees do not devalue that central motif. In this urban space, one tree holds more symbolic potential than a thicket. Brooding skies amplify that drama with sound and colour.
During lockdown, I have imagined many narratives this summer, and it’s been wonderful celebrating this old friend’s return to youthful vigour. Until Autumn.
The last of the Hitchcock series, this painting focuses on the tree which has been in the background of the companion works. Being relatively small formats, my hope is that the viewer will come close to the image, creating an intimate capsule where surface colour and brushwork are enjoyed as they blur into abstraction. Lone trees take on greater importance for me when isolated, allowing narratives to come to life.
Two cars seen through a car window on a stormy night set the tone for danger. Acid yellow rectangle of car bonnet is electrifying and the contrast to the remaining elements in reduced palette sets a sense of theatre.
A sense of drama is heightened by quick, loose brushstrokes and a reduced palette in this small work. Very simply, three elements are arranged in the landscape, becoming the site of potential danger. Irrationally, as with Hitchcock’s films, irrespective of where/what the source of danger is, tension is maintained.