Fractured Landscapes, Fragmented World
In Fractured Landscapes, Fragmented World my paintings and sculptures reflect a sense of place, using abstraction and representation, the real and the imagined, the natural and the constructed landscape. Using a range of materials, I capture light, atmosphere, structure and form, creating and exploring the juxtaposition of gesture and geometry.
The catalyst for this current series was initiated by researching the birth of Fauvism and places where Matisse had painted in the early 1900s, which gradually evolved into a study process on the work of August Herbin (1882 -1960). Herbin was a founding member of the 1930 to 40s Paris based group of Abstract Creationists/Constructivists, which included Barbara Hepworth, Lazlo-Maholy Nagy and Wassily Kandinsky. Like Herbin, I have adopted a rational, geometric abstract style, to produce forms and shapes from the natural environment.
Fractured Landscapes, Fragmented World evolves from realistic imagery towards more abstract geometric forms; buildings metamorphose into simplified shapes of colour, positive and negative space using cardboard, mylar, acetate, aluminum and plexiglass. Elements associated with repetition, aging, re-using, layering, tracing, over-lapping and re-constructing are emphasized.
Cardboard surfaces draw attention to the notion of packing and unpacking, constructing and deconstructing, sorting and sifting. A cardboard box has the potential to unlock a collection of memories that can be displayed, remembered and packed away again. The mylar and acetate, represent the fragility of space both real and imagined. The transparent qualities reflect looking back at history to find a conceptual path and seeing beyond current limits and restraints. The aluminum and plexiglass are industrial and discarded, chosen because of their reflective and contemporary qualities. The physical properties of materials — re-used, rough, smooth and polished symbolizes the contradictory nature of our fragmented world and act as metaphors for finding meaning through the creative process.
The Fractured Landscapes, Fragmented World series reflects the changing nature of research with things being added, taken away, understood, questioned, re-evaluated, always evolving, always being remade. The work is predominantly painted in blue, referencing the ocean and sky. Blue projects a sense of calm, harmony, balance and a distillation from complexity to simplicity, from chaos to clarity, clutter to calm. Some days I feel “blue” with the state of the world, but I believe my art action has echoes and the act of creation is an antidote to destruction.