A brief description of my working practice and methodology.
Being a devotee of non-representational art. I have never considered abstraction to be a deliberate break with the historical art tradition. Indeed, I find the idea that an artist could work outside of this history difficult to understand. Rather abstraction can develop some concealed, buried or forgotten aspects within this tradition.
I feel that the language of geometry is an important tool in finding a unification and empathy across the huge spectrum of art history. This sense of historical unity in turn helps me make work that is, hopefully, firmly planted in the present.
The idea is not to make work that holds up a mirror to the world representing something particular. I want the images I make to be first and foremost what they are [colour physically present as colour, the method of construction readable, any apparent illusory space unlooked for] rather than any allusion to something specific.
For me the beauty of this form of abstraction is its ability to dismiss the specific as unimportant – freeing artists to concern themselves with a more general response to living, a more universal reaction to, and comment on life/humanity.
The process may seem counter-intuitive but by imposing simple geometric and structural parameters a dialectic is set up between the formal and intuitive – it is this that progresses my work.
Some critics get extremely exercised by artists that make art that refers to art, but as far as I’m concerned referring to art is as much about referring to, and contemplating, humanity itself. This installation is therefore a celebration of both.
Although the work could be perceived as looking disparate and fractured at first glance, my intention is that the works similarities and commonality will become apparent on closer scrutiny. The installation may become more than the sum total of its parts.
I put before you a small but by no means exhaustive list of influences and references that came to mind and heart as the work unfolded:
Flight – Illuminated manuscripts – Miniatures – Islamic Art – Heraldry – Constructivism – Jazz – Early Music – Medieval Church Decoration – Energy in tension – Balance/Inbalance – Modernism – Celtic Art – A re-appropriation of misused symbols – Paolo Uccello – Stained Glass – Textiles.