The Time of Painting
to counter a temporal flux
to occupy a tenuous present
to observe a perceptual field
to breathe a rarefied scene
to enfold a fading interval
I am curious to ask, when is a painting made? In my work, the painting is made at the point of experience (in the present) when I too am most present. In the immediate past is a detailed process that provides a material, structural and conceptual framework for the painting. This preparatory work allows the painting to be made within the same temporal space as experience. For me, this is a vital idea – it places the painter and the act of painting in a single space and time.
These works explore a persons’ relationship to time and the atmospheric effect of rare experience. Airlight is the subject of observation – the illumination of the air, the elemental substance between what I see and where I am. The effect of airlight transfigures the landscape over and over. It is fugitive, transient and subtle – it requires a kind of deep observation, being wholly attentive, looking for the gradual in continuous change.
In material terms these works are fabricated out of watercolour, acrylic paint, plaster and pigment. Each painting provides a particular surface for observation. These discrete surfaces are finely attuned for their qualities of lightness, colour continuity and fluency.