During a studio session the paint and graphite are often flying and there is a dance that happens. It is often an awkward, frustrated, strange sort of dance that is sometimes a bit wild. Then, at some point, comes the need to step back from the image, to slow it down. The expression becomes more efficient and thoughtful, neither restrained nor random. In the current series the role of the line or grid brought some stability embedded in the movement and energy, a kind of framework or structure. Sometimes the grid came first, and at other times later. Altogether trying to capture that beautiful union where chaos to calm occurs, and where it becomes an amazing marriage.
I never really understood the attraction to flowers, the list of occasions for giving them is endless, so I lumped them together into the “yet another commercial occasion/holiday category” in my brain, and then dismissed them.
But, fast forward to a time when I was questioning myself more if I got into an absolute or dismissive mode…and so I started painting them.
My first series of early floral paintings was an attempt to capture light and brightness through the balance of complimentary colours, and to move away from the muted palette I had used for so long in my prior figure and portrait work. Bringing fresh flowers into the studio and my apartment did start to brighten the space and my mood (which is usually pretty bright to begin with, but those particular few months were harder than most), so it surprised me that a little greenery could go a long way. Seeing that there might be something to this “flower” thing I continued painting them, not trying to replicate a flower but to study the movement, colour, and light that the flowers created.
Since that time there have been other muses, other painting directions, but it has become apparent that flowers are a theme that I seem to return to.