This work comments on feelings anxiety and fear currently in western society. Space its self seems to be being torn apart and the space is entirely surrounded by gnarled tree roots commenting on the complicated structure of consciousness. Two ravens circle a figure dressed in a black fetish jacket. The central figure's identity is deliberately ambiguous commenting on perceived notions of "others" or "outsiders" in society. The work was inspired by costumes and collages of images from magazines. The viewer is invited to take a fascinated look at the slick surfaces that the glossy and matt paint evoke and suggest.
Original Painting: Oil on Linen.
The work is a response to the sub culture of fetish and sadomasochism. A Valkyrie stands before a triskelion. The three legs are known in Manx as ny tree cassyn ("the three legs"). The triskelion is an ancient symbol, used by the Mycenaeans and the Lycians. This could be an alter ego, disguise or fantasy. The work was inspired by costumes and collages of images from magazines. The viewer is invited to take a fascinated look at the slick surfaces that the glossy and matt paint evoke and suggest.
In Norse mythology, a valkyrie (from Old Norse valkyrja "chooser of the slain") is one of a host of female figures who choose those who may die in battle and those who may live. Selecting half of those who die in battle, the valkyries bring their chosen to the afterlife hall of the slain, Valhalla, ruled over by the god Odin (the other half go to the goddess Freyja's afterlife field Fólkvangr). There, the deceased warriors become einherjar (Old Norse "single (or once) fighters"). When the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses.
Painting Size: 107 H x 71 W x 4 cm
This work is a response to the sub culture of fetish and sadomasochism. A horned raven is seen to morph with a human form. This could be an alter ego, disguise or fantasy. There is deliberate ambiguity as the wether the creature is feeding on its prey or devouring in an act of mating. The work was inspired by costumes and collages of images from magazines. The viewer is invited to take a fascinated look at the slick surfaces that the glossy and matt paint evoke and suggest.
Size: 76 H x 86 W x 2 cm
This painting is juxtaposition of rubbish bags, rubber gloves, and shamanic patterns with the Himalayas across the centre. The painting is a comment on the littered quality of some pristine environments. Although the waste could be deemed ugly it serves to remind us of the utility of mans desire to overcome all terrain, but at what costs?
Throw Your Soul into the Woods
Limited Edition of 10
Printmaking Size: 70 H x 50 W x 1 cm
The Spear of Destiny
Size: 92 H x 122 W x 3 cm
Ships in a crate
The back ground of this painting borrows from the work of the American sublime master painter, Frederic Edwin Church. In the centre of the painting floating and in revery of magical animals is the gilded Spear of Destiny, allegedly the lance that was used to spear christ on the cross. Surrounding this are the gilded Armanen Furthark runes. Guido Von List’s book, Das Geheimnis der Runen ('The Secret of the Runes’). This is a book by Austrian mystic Guido von List, in which he presents his "Armanen Futharkh". It appeared as a standalone publication in 1908. A Pickelhaub helmet from the Prussian Empire rests on top of the the spear suggesting the sacrifical killing of a soldier.
The Horn that Matters
Painting: Oil on Canvas.
The painting came about after a visit to the region of Meteora in northern Greece. Meteora is a natural formation of rock pinnacles. Many of these rock pillars have monasteries on the top of them. The place has been a spiritual retreat and haven for centuries where monks have sought solitude and refuge from the world in order to preserve high spiritual knowledge. Upon visiting the place it was impossible to not be moved by the immensity of natural flowing energy the place emits. This painting is my attempt to record all this landscape of monolithic rocks and fins some way to render in painting there spectacular monumentality. The rocks themselves are formed as conglomerates of many other smaller different types of rocks. In this collection of difference of forms I have sought to depict the perfection that is the truth of the place.
The Metéora (Greek: Μετέωρα, pronounced [mɛˈtɛoɾɐ], literally "middle of the sky", "suspended in the air" or "in the heavens above" — etymologically related to meteorology) - is a formation of immense monolithic pillars and hills like huge rounded boulders which dominate the local area.
It is also associated with one of the largest and most precipitously built complexes of Eastern Orthodox monasteries in Greece, second in importance only to Mount Athos. The six monasteries are built on natural conglomerate pillars, at the northwestern edge of the Plain of Thessaly near the Pineios river and Pindus Mountains, in central Greece.
Ravine (After The Chalk Cliffs At Ruggen and Rocky Ravine by Caspar David Friedrich)
Ravine features portions of landscapes from two romantic paintings, The Chalk Cliffs at Ruggen, and Rocky Ravine. The lower portion depicts an aerial photographic view of the surface of a glacier with crevasses. Skylines from existing works serve to create a new foreboding vignette of heightened emotion. The feelings of giddiness one sometimes feels whilst looking down at precipices were the inspiration for the painting.
TIANZI MOUNTAINS AND MIST
Original diptych double canvas painting in oil
(Each panel - 129cm x 81cm x 4 cm)
The Tianzi Mountain is located in Zhangiiajie in the Hunan province of China, close to the Suoxi Valley. Tianzi means son of Heaven and is the traditional epithet of the Chinese emperor. These mountains have traditionally been the most important source of inspiration for Chinese landscape painting. I have chosen to paint these fantastical mountains with deep fjords cutting through there rock spires to create a hybrid style of painting referencing European romanticism and Chinese watercolour scroll paintings. The painting is executed in stippled monochromatic tones of Prussian blue. Prussian blue, was a colour newly introduced by the British to Asian artists in the late 19th Century. By using this colour I am commenting on the continued cross pollination of artistic styles and philosophy in the ongoing exchange between the west and the east. Which leads to harmony and compassionate care for our most treasured natural wonders.