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I am inspired by the philosophy and aesthetics of the nineteenth century romantics. I wish to lure the viewer into a false sense of security, where familiarity almost causes my work to be overlooked. I use my palette, composition, and subject matter to create a sense of the known.
We are living in a time of unprecedented technological innovation and interconnectivity, an invisible infrastructure of visible and tangible manifestation. We exist in a state of flux, one nostalgic eye looking back to a period when life was set amongst bucolic vistas. The other eye watches as we live our lives in the Now of continual news cycle, information saturation, climate change.
I am anxious, we are anxious. Contemporary landscape painting can no longer be a retreat, the romantic has already departed.
The geometric lines are used as a device that not only creates a visual dissonance but asks the viewer to look around the painting in the most physical of meaning. They are signposts, short cuts, semiotics for observing, perceiving, hoping, and believing. The use of gold is not an aesthetic decision but depicts my antipathy towards it as an indicator of status. We don’t need gold – we need harmony, compassion, and a compulsion to be kind. We should tread lightly through life, respect nature, and love more.
Above is a short film of renowned British artist Graham Crowley critiquing my work for his exhibition 'Silent Disco' with Rob Dunt of ArtTop10.com.
We are living in a time of unprecedented technological innovation and interconnectivity, an invisible infrastructure of visible and tangible manifestation. We exist in a state of flux, one nostalgic eye looking back to a period when life was set amongst bucolic vistas. The other eye watches as we live our lives in the Now of continual news cycle, information saturation, climate change.
I am anxious, we are anxious. Contemporary landscape painting can no longer be a retreat, the romantic has already departed.
The geometric lines are used as a device that not only creates a visual dissonance but asks the viewer to look around the painting in the most physical of meaning. They are signposts, short cuts, semiotics for observing, perceiving, hoping, and believing. The use of gold is not an aesthetic decision but depicts my antipathy towards it as an indicator of status. We don’t need gold – we need harmony, compassion, and a compulsion to be kind. We should tread lightly through life, respect nature, and love more.
Above is a short film of renowned British artist Graham Crowley critiquing my work for his exhibition 'Silent Disco' with Rob Dunt of ArtTop10.com.
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