UA-43066659-1
 
2012-13
Paintings/
Emergent View


From a Fall of Water, oil on mount board, 21 x 14.5 cm. Private collection



A Study for Followers (2),  oil on mount board, 21.5 x 16 cm. Private collection



A Study for Followers (1), oil on mount board, 21.5 x 16 cm. Private collection



Background Study, oil on canvas, 14 x 18 cm. Private collection (installation view)



From a Set of Similar Scenes, 2012, oil on mount board, 14.5 x 21 cm. Private collection



From a Figural Procession (1), oil on mount board, 11.5 x 16 cm. Private collection



From a Figural Procession (2), oil on mount board, 11.5 x 16 cm. Private collection



From An Outdoor Still Life, oil on mount board, 12.5 x 16.5 cm



Variation of a Familiar Scene, oil on canvas, 37 x 37 cm



Dark Pool, oil on canvas, 19 x 22 cm



Variant View (1), oil on canvas, 79 x 98 cm



From Merging, or Melding, Swimming Together, oil on canvas, 66 x 84 cm



Variant View (Suddenly now blurs), oil on canvas, 70 x 96 cm

A body of work which takes historical northern European landscape painting as its starting point, from which figures, or signs of material presence are erased. Several works explore notions of 'void' and 'nothingness'  through the voiding of the figures from the landscapes and their slipping into indistinctiveness. But they never give way to nothingness because of their titles and reference to other works – they still suggest landscape – paradoxical images which are representational, but don’t show anything distinct. How little information is needed to suggest a landscape – can it negate representation while remain representational?

︎Text



‘Landscape can be lost, presecuted, reduced ... what are left are isolated fragments, adfrift from one another. What we do to landscape is interrupt it ... until the land no longer recognises itelf’.
– James Macdonald Lockart, Raptor, A Journey Through Birds (4th ESTATE, 2016)