Familiar iconography (foot, links, the figure) come together on a green ground in this work. I continue to question the effect of the internet on image making in general, and eroticism and the nude in particular.
The relationship between pornography and eroticism has always been ambiguous and social media has added more layers to the discourse. The title ‘Silhouette’ here refers to the cutout black and white image reminiscent of 50’s girlie magazines. The other two ‘pasted’ pictures of nudes are almost as outdated as that classic ‘pinup’. These trompe l’oeil cut outs lose their original erotic frisson in the context of this painting.
Initially I use interlinked forms as an a metaphor for the figure and human relationships. I wonder if the reading of the large links below is reduced as it become chains….seen enslaving one of the cutout figures. Furthermore, does the hovering foot above reinforce questions about the relationship between power and powerlessness?
Is the Voyeur here satisfied or compelled more or less by these superimposed images? And is the voyeur a victim or victimiser?
Octagonal shape frames black zig zag horizontal lines dividing the space in 2. What kind of waves does the title query? Is it a view through a porthole into an imaginary ocean? Is it vibrations of energy or electricity? Making waves is a disruption of sorts, irrespective of the visual reading of image. I am interested in changes of depth facilitated by particular blues and possibilities of reading with and without text.
White and acid yellow/green lines create an imaginary landscape. The curved arabesques seem to form into 2 letters (D) from which the title takes it’s queue. Apparent speed of execution and loose paintwork humoursly downplays mystery of making art
Straight and curved lines create the illusion of a large space which allows for sound to resonate and amplify. The title is written in very small text to encourage viewer to come closer to surface of work at which point the legibility of total image is lost but the unevenness of the human hand produced object is highlighted.
The picture plane is altered with the superimposition of the abstract drawing of geometric rectangles on the large foot. The shape is reminiscent of several small high colour works I was concurrently working on. I found it interesting how this form morphed into a different reality in this figurative, erotic work. The hidden nude figures on either side of the foot create a secretive, private world into which we can walk at our will. Geometry and the figure are brought together by obscured text on left border of this painting in a subdued palette and textured ground.
Simple soft rectangular shapes, outlined by strong black line are superimposed one on top of the other in no sensible order. However the whole is held together by a white outline suggesting that somehow the natural order does prevail, irrespective of challenges we somehow keep it together.
Misquote in title amusingly references loose handling and dripped paint which seem to defy gravity as painting is worked in the round. My challenge in these abstractions is in limiting and repeating the format of shapes how can one shift meaning?
Brightly coloured, warm rectangular soft cornered shapes are outlined in black line. The lower orange shoe-like shape reminded me of the film ‘Young Frankenstein’ when Marty Feldman (with the red shape on his back) tells Gene Wilder and Madelaine Kahn to follow him….so funny. A classic.