Paintings
Selected paintings from 1999 / 2020
Thresholds 1-6 are a group of paintings made in 1999 based on a projection of
light emitted from an interior door, defining a threshold between two architectural
spaces. The paintings also developed within them, a motif/framework, that became
a vehicle for expressing an emotional element in my work, and were the basis for
the first Threshold Drawing series started in 2008. Though the six paintings are left
unresolved, they have continued to generate a focus of enquiry into the concept of
memory, and how it is affected by interior space.
Due to a degenerative neurological condition, which affects the dexterity of my right
hand, the main technical difference between the six Threshold paintings of 1999 and
paintings made from 2016, is that the latter were made primarily with the left hand.
Unlike Threshold Series 1, and to an extent Series 2, which rely on complete manual
control of fine pens; the return to painting now offers the possibility of a more fluid and
spontaneous technique, allowing flexibility as my condition changes.
In the recent paintings the door ‘motif’ is mostly hidden but is still used as a starting point.
Utilised as a constructional support, it now presents itself in a more discrete manner, but
nevertheless providing a link between the underlying structure and imagery. The
development of this imagery becomes the language that endeavours to drive the
narrative in each of these works. As the emotional content unfolds in the paintings, an
ambiguity of mood prevails; are these positive or negative compositions? Do they
embrace hope or do they anticipate fear?
In Open to the Idea 2016, the door motif is still seen but not assigned as an
unmovable architectural frame as in the Threshold Drawings, rather it presents itself
in a more dream like ephemeral manner. There is also a transparent fluidity dominant
in the panel which evokes a sense of drowning or sinking. But the intention is more
optimistic; more a resurfacing, a 'coming up for air'. Open Sesame 2016 solidifies the
picture plane, making the composition bottom heavy, but serving as a plinth that
supports the division of open void/light, which both of the paintings gravitate towards
and yet at the same time fight against. These two paintings together with ‘Untitled l’,
are to be viewed as a group not a triptych. The same chronology and group
sequence holds for ’The Second Time l’, ’The Second Time ll’ and ’The Second Time lll’.
Whereas 'Wound’,’Heal’ and ‘Fast’, although personally considered a group of three,
can sit as a cohesive series of five with ‘Discipline’ and ’Stabiliser’.
alba paintings 2018
The fifteen 'Alba' paintings, takes its theme and is based on the ‘Alba / Oceania’ series by John Walker,
which was inspired by the portrait ’The White Duchess’ (Goya 1795). The image of ‘Alba’ manifests itself
as an icon placed within the dialogue of Walker’s work in the mid 1980’s.
Walker’s journey through the development of the ‘Oceania’ paintings has become heavily influential upon
my own painting’s identity, and adopts a visual language that is central to its character. Though Walker’s
adaptation of ‘Alba’ has many different and interlocking themes, there nonetheless remains intriguing parallels
with my own current path which links similar painting style qualities within the series. Alba, for my purpose,
documents a progressive neurological reality that has to be accepted as a duel emotional experience, which
is set between real and surreal landscapes.
I have consistently used templates from Threshold series l & ll as a structure to anchor the paintings while
the ‘Alba’ motif takes on the picture plain. As the story unfolds in line with the pace of a neurological certainty,
an unstoppable outcome prevails like a tragic opera. These places contain memories, with thoughts and images
floating in ambiguous landscape backgrounds. The content of each painting becomes a metaphoric environment
and harbours personal emotional recollections; a visual vocabulary identifying moments that are often unresolved,
or are significant in some way. The resulting imagery forms the language that endeavours to drive the narrative in
the compositions.
jvs 2018
TOONDAH SERIES
Lost Positions
In a Hot Country
Lost Positions ll
Lost Positions lll
Lost Positions lV
Reminder
MIRROR
EIGHT POSITIONS
1
2
3
4
5
6
7
8
Selected paintings from 1999 / 2020
Thresholds 1-6 are a group of paintings made in 1999 based on a projection of
light emitted from an interior door, defining a threshold between two architectural
spaces. The paintings also developed within them, a motif/framework, that became
a vehicle for expressing an emotional element in my work, and were the basis for
the first Threshold Drawing series started in 2008. Though the six paintings are left
unresolved, they have continued to generate a focus of enquiry into the concept of
memory, and how it is affected by interior space.
Due to a degenerative neurological condition, which affects the dexterity of my right
hand, the main technical difference between the six Threshold paintings of 1999 and
paintings made from 2016, is that the latter were made primarily with the left hand.
Unlike Threshold Series 1, and to an extent Series 2, which rely on complete manual
control of fine pens; the return to painting now offers the possibility of a more fluid and
spontaneous technique, allowing flexibility as my condition changes.
In the recent paintings the door ‘motif’ is mostly hidden but is still used as a starting point.
Utilised as a constructional support, it now presents itself in a more discrete manner, but
nevertheless providing a link between the underlying structure and imagery. The
development of this imagery becomes the language that endeavours to drive the
narrative in each of these works. As the emotional content unfolds in the paintings, an
ambiguity of mood prevails; are these positive or negative compositions? Do they
embrace hope or do they anticipate fear?
In Open to the Idea 2016, the door motif is still seen but not assigned as an
unmovable architectural frame as in the Threshold Drawings, rather it presents itself
in a more dream like ephemeral manner. There is also a transparent fluidity dominant
in the panel which evokes a sense of drowning or sinking. But the intention is more
optimistic; more a resurfacing, a 'coming up for air'. Open Sesame 2016 solidifies the
picture plane, making the composition bottom heavy, but serving as a plinth that
supports the division of open void/light, which both of the paintings gravitate towards
and yet at the same time fight against. These two paintings together with ‘Untitled l’,
are to be viewed as a group not a triptych. The same chronology and group
sequence holds for ’The Second Time l’, ’The Second Time ll’ and ’The Second Time lll’.
Whereas 'Wound’,’Heal’ and ‘Fast’, although personally considered a group of three,
can sit as a cohesive series of five with ‘Discipline’ and ’Stabiliser’.
alba paintings 2018
The fifteen 'Alba' paintings, takes its theme and is based on the ‘Alba / Oceania’ series by John Walker,
which was inspired by the portrait ’The White Duchess’ (Goya 1795). The image of ‘Alba’ manifests itself
as an icon placed within the dialogue of Walker’s work in the mid 1980’s.
Walker’s journey through the development of the ‘Oceania’ paintings has become heavily influential upon
my own painting’s identity, and adopts a visual language that is central to its character. Though Walker’s
adaptation of ‘Alba’ has many different and interlocking themes, there nonetheless remains intriguing parallels
with my own current path which links similar painting style qualities within the series. Alba, for my purpose,
documents a progressive neurological reality that has to be accepted as a duel emotional experience, which
is set between real and surreal landscapes.
I have consistently used templates from Threshold series l & ll as a structure to anchor the paintings while
the ‘Alba’ motif takes on the picture plain. As the story unfolds in line with the pace of a neurological certainty,
an unstoppable outcome prevails like a tragic opera. These places contain memories, with thoughts and images
floating in ambiguous landscape backgrounds. The content of each painting becomes a metaphoric environment
and harbours personal emotional recollections; a visual vocabulary identifying moments that are often unresolved,
or are significant in some way. The resulting imagery forms the language that endeavours to drive the narrative in
the compositions.
jvs 2018
TOONDAH SERIES
Lost Positions
In a Hot Country
Lost Positions ll
Lost Positions lll
Lost Positions lV
Reminder
MIRROR
EIGHT POSITIONS
1
2
3
4
5
6
7
8
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Using your eyes ..... we see 2018 Oil on Aluminium 90 cm x 30cm
Finding their way through ecstatic orange 2018 Oil on Aluminium 60 cm
Brutal Ardour 2018 Oil on Aluminium 51 cm
Alba Wounded 2018 Oil on Aluminium 51 cm
Fullness of Wind 2018 Oil on Aluminium 51 cm
Float 2018 Oil on Aluminium 51 cm sq
En Passant 2018 Oil on Aluminium 51 cm sq
Fall 2018 Oil on Aluminium 51 cm sq
Alba on this dark day 2018 Oil on maple 51 cm sq
Alba in indeterminate ground 2018 Oil on Aluminium 51 cm sq
Untitled 2018 Oil on Aluminium 51 cm sq
Walker returns 2018 Oil on MDF 24cm sq
She is 2018 Oil on MDF 24cm sq
Towards me 2018 Oil on MDF 24cm sq
Alba and Door (using your eyes) 2018 Oil on Aluminium 510mm x 510mm
Alba as Door 2018 Oil on Aluminium 510mm x 510mm
Threshold and Alba as Door with Orange 2017 Oil / Pencil on Aluminium 510mm x 510mm
Threshold and Alba 2017 Oil / Pencil on Maple 510mm x 510mm
Threshold and White Alba 2017 Oil / Pencil on Maple 300mm x 300mm
Threshold and Duchess 2017 Oil / Pencil on Maple 300mm x 300mm
Another Truth ll 2017 Oil / Pencil on Maple 300mm x 300mm
Another Truth 2017 Oil / Pencil on Maple 300mm x 300mm
Rogue 2017 Oil / Pencil on Maple 300mm x 300mm
Position 2017 Oil / Pencil on Maple 300mm x 300mm
Unknown Pressure 2016 Oil / Pencil on Maple 300mm x 300mm
In Truth 2016 (after John Walker) Oil / Pencil on Maple 300mm x 300mm (Collection Perdita Sinclair)
Align 2016 Oil / Pencil on Maple 300mm x 300mm
Internal Landscape l 2016 Oil / Pencil on Maple 300mm x 300mm
Waiting 2016 Oil / Pencil on Maple 250mm x 500mm (Collection Annabel Laister)
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Stabiliser 2016 Oil / Pencil on Maple 203mm x 203mm |
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Discipline (The first time) 2016 Oil / Pencil on Maple 203mm x 203mm |
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Fast 2016 Oil / Pencil on Maple 203mm x 203mm |
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Heal 2016 Oil / Pencil on Maple 203mm x 203mm |
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Wound 2016 Oil / Pencil on Maple 203mm x 203mm |
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The Second Time III 2016 Oil / Pencil on Maple 203mm x 203mm |
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The Second Time II 2016 Oil / Pencil on Maple 203mm x 203mm (Collection Mr &Mrs Lewis) |
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The Second Time l 2016 Oil / Pencil on Maple 203mm x 203mm |
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Untitled I 2016 Oil / Pencil on Maple 203mm x 203mm |
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Open Sesame 2016 Oil / Pencil on Maple 203mm x 203mm |
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Open to the Idea 2016 Oil / Pencil on Maple 203mm x 203mm |
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Threshold 1 1999 Emlusion / Oil / Pencil on MDF 203mm x 203mm |
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Threshold 2 1999 Emlusion / Oil / Pencil on MDF 203mm x 203mm |
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Threshold 3 1999 Emlusion / Oil / Pencil on MDF 203mm x 203mm |
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Threshold 4 1999 Emlusion / Oil / Pencil on MDF 203mm x 203mm |
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Threshold 5 1999 Emlusion / Oil / Pencil on MDF 203mm x 203mm |
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Threshold 6 1999 Emlusion / Oil / Pencil on MDF 203mm x 203mm |
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