Derelict buildings. I painted this (with love, as ever) during a visit to the Welsh valleys. I'm not going to tell you where, you'll have to guess. This is what my friend Marjorie said about this work:
I think the work goes beyond mere representation. It’s full of meaning and misery – a statement about the fact that you can never leave your dreams completely behind then. It’s also a reflection on what it means to be broken in the world today, like a broken horse. The JCB is beautiful, yet oddly disturbing in its own way. This work also carries definite political overtones about their attitude to free (especially artistic) speech on.
The ideas, technique and contextual elements are integral too, naturally, but it’s the linework and the language there in that alludes to the artists primary discourse. Tentatively floated or botched down on, the artist's resolve is narrated through the linework - with, and through the bitter alignment of leaves.
The canvas is key to this artists work now. Choosing to paint on pre-existing objects such as old curtins or broken plinths. Anything that is old and rubbery and local is also considered, but particularly objects with miserable significance are of interest to. The approach of appropriating the aesthetical elements as well as the inherent purpose of the object helps to provide a more comprehensive context in the thing. A suitable set of parameters to project an idea with.
Thank you, Marjorie.
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