The
flower paintings are constructed rather like a
garden.
The 'hard' landscaping is formed from the abstract shapes
created by a wall, the edge of a table and a pot perhaps,
and flowers are the 'soft' planting. The aim is not
botanical precision, but to try and capture the sense of any particular combination. In the 'Winter Primroses',
for instance, it was the way the frail flowers seemed to radiate their own pale light into a sombre wintry space.
The 'places' are landscapes of the mind's eye, real
places each of personal significance, painted from
memory and imagination.
The life room is really important - drawing (as sculptor Nicola Hicks once described it), not with the eyes shut,
but looking the other way. Concentrating but letting go
at the same time; a kind of meditation.
The way memory works both to deceive and enlighten
is the subject of 'an imagined past'.
'The other side' is the place in my head where
I want to be. Work in progress.
The 'hard' landscaping is formed from the abstract shapes
created by a wall, the edge of a table and a pot perhaps,
and flowers are the 'soft' planting. The aim is not
botanical precision, but to try and capture the sense of any particular combination. In the 'Winter Primroses',
for instance, it was the way the frail flowers seemed to radiate their own pale light into a sombre wintry space.
The 'places' are landscapes of the mind's eye, real
places each of personal significance, painted from
memory and imagination.
The life room is really important - drawing (as sculptor Nicola Hicks once described it), not with the eyes shut,
but looking the other way. Concentrating but letting go
at the same time; a kind of meditation.
The way memory works both to deceive and enlighten
is the subject of 'an imagined past'.
'The other side' is the place in my head where
I want to be. Work in progress.