A collection of shapes, colours and textures found by looking closely at forms while on a walk in the country. Taken away from overwhelming landscape the objects are ‘framed’ by the space around them and in their relationship to each other in order to be ‘seen’ as individual forms and as part of the composition.
Photo works about walking and looking in the woods. How we look and what we see and how these events affect our (modern fragmented) identities.
The forest as a symbolic place of testing and transformation and as a place of sanctuary and reflection hidden from Gaze of others.
A place absent of pollution from noise, light and industry.
An equalising space where animals look at you as you look at them and trees do likewise.
A place not yet entirely obsolete but under threat by super modernity. Perhaps we will put woods in a place to be viewed as a ‘museum piece’ rather than a place to live, dwell and be.(See Non-Places by Marc Auge)
The negation of the real to present a ‘nothingness’ (Sartre). Absorbed by colour and marks, scratches on a surface. Painting as an ‘otherwise’ and a political expression of human freedom. There is no freedom in a world ‘as it is’ we need alternatives to the moments of ‘now’ in order to imagine and to dream. Painting is not a momento of time (photograph) but is ‘always present’ as an object or image in the world with whatever meanings and associations its present reading brings (thus is the same image always changing).
Experiments in large format film photography. An obsolete medium captures something of the essence of the forest. It is causal, a trace, a fingerprint (indexical) of the real rather than an interpretation of the real by mechanical, contrived means.
Film also contains the alchemical elemental processes of light, atoms and minerals as opposed to modern photography’s digital code and pixels.
A short video of a forest school outdoor education day. Inspired by the social form of children’s increasing disconnection from nature and natural play and societies, largely, indifferent attitude to it.
‘As technological civilisation diminishes biotic diversity, language itself is diminished.’ David Abram, Spell of the Sensuous
Featuring a soundtrack of children reciting the 50 words from nature cut from Oxford English Children’s Dictionary and their replacement with words “associated with the increasingly interior, solitary childhoods of today”.
Painting in situ at local woodland spaces. Immersive painting as embodied intelligence articulated in paint.
The known world, according to Merleau Ponty, is a constant exchange of interrogation and reflection. Through our physical being (Body) in the world we are transformed by it, and we also by being in it simultaneously transform the world.
“The painters world is the visible world, nothing but the visible: a world almost mad, because it is complete though only partial. Painting awakens and carries to its highest pitch a delirium which is vision itself, for to see is to have at a distance; painting extends this strange possession to all aspects of Being, which somehow become visible in order to enter into the work of art” Eye and Mind 1964