Landscape - traditions and superficiality

'Sometimes' oil on drafting film 86 x 110 cm 2015

Aconcagua 1, oil on canvas 170 x 105 cm 2013 SOLD

Cordillera 2, acrylic on canvas 160 x 80 com 2013 SOLD

'Sound' oil on canvas 110 x 60 cm 2015 

Harbour, watercolour on paper 12 x 12 cm 2015

Uspallata (winter), oil on canvas 55 x 55 cm 2013

Aconcagua 2, acrylic on canvas, 188 x 99 cm 2014 

Darwin - oil on canvas 120 x 120 cm 2002  SOLD                 

                                                                                                                      Mt Hodges, oil on canvas 122 x 122 2002  SOLD                                                               

      Darwin - oil on canvas , 120 x 108 cm     2001 SOLD                                                                                          

Ideas of Landscape; 2000 to 2015

I started with near abstracted images of the streets back in the town I grew up in. The emphasis was on the starkness of the scene, the elements of wind and rain and birds and sky with the immediacy to get what I felt registered with total energy. That was important, the need to achieve something through a physical fight, nearly. I was trying to simplify around the year 2000 the ‘camp’ too – what we call the landscape in Spanish ‘campo’, nearly abstracting the monotonous and bleak yet some might say beautiful Falkland’s landscape. Still, there are the single buildings sat in the middle of nowhere, which would break up the spaces. I’d always loved David Bomberg’s landscapes, the construction of space and directness and the feeling that he was still drawing. Then, I made a trip to the island of South Georgia – there things became a bit wilder but at the same time there was a need to simplify things. Which lasted until I saw the mountains of Mendoza, Argentina. That was where the landscape seemed to have turned full circle – the associations I made, between the high skylines and scale alongside deeper personal issues. The colours were replaced by patterns and the blueness reflected a directionless hold – like knowing the full extent of what was reachable and what was not. That’s where I described the whole thing as being plastic – maybe superficial is not the word. But still, there’s something not real with what you’re seeing. That seemed to have gone a long time ago. Maybe it’s just innocence that disappears. And that never returns in paint just as it doesn't in life either. 

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