creation myths


body of work in which paintings and the painting process are seen as αρχέ(τυπα), archetypal symbols for the emergence of consciousness.  Emerging self-world landscapes are presented as portraits, archetypal symbols of the relationship between our constantly changing inner and outer worlds



Threshold (2018): installation: wood stretcher and cut out canvas form with traced drawings (graphite and gesso on muslin covered board) (dimensions variable: stretcher w40 x w34 inches, drawings each w8 x h10 inches)


In a damaged painting, cut out shapes, with seemingly endless possibilities, are found unable to change beyond their severed forms.  Through acts of folding, tracing, placing and consolidation the form is exhausted, finally found resting on its fragile support. There is nothing to be done other than to start again.


Headland (2018) painting: acrylic, copper finishing wax and gesso on muslin covered board  (w20 x h24 inches)


Through processes of washing away, sanding back and overpainting, conscious and unconscious forces engage in doing and undoing – mythology tells us destruction is also a creative act. The stretched skin is fragile (calico and muslin laid bare with clear gesso) and requires a support solid enough to withstand the storm.  Acrylic is the medium of choice because its fast-drying nature demands drastic, sometimes brutal, responses which help to keep the exchange active.


Blog diary:

28 September  open studio