Landscape - traditions and superficiality
'Sometimes' oil on drafting film 86 x 110 cm 2015
 
Cordillera 2, acrylic on canvas 160 x 80 com 2013 SOLD
'Sound' oil on canvas 110 x 60 cm 2015 S O L D
Aconcagua 2, acrylic on canvas, 188 x 99 cm 2014 S O L D
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 Darwin - oil on canvas 120 x 120 cm 2002 SOLD |
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From the series 'Paintings for a Pilot', 2001.
oil on canvas 122 x 122 cm SOLD
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Mt Hodges, oil on canvas 122 x 122 2002 SOLD  |
| 'Beneath the Clouds' oil on canvas 110 x 110 2013 SOLD |
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| 'Why don't you feel me?' acrylic on board 2019 SOLD |
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| 'HOME' acrylic on canvas 198 x 98 cm 2014 |
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| 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’, 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 landscapes, the construction
of space and directness and the feeling that he was 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. 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 there’s
something not quite 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.
Bs As 2015  
'When its cold I'd like to Die' oil on canvas, 2018, 156 x 122 cm
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