My fascination with Le Mans got me there four times - 1987-88-89-91. But there was a new thing looming on the horizon; Motorcycles. Long road trips. The possibility of actually Racing. And the Isle of Man. Mechanism
That seven year period was a time of dramatic change and learning - It had started with Print Art. After my initial frustration with what the Cornish Faculty seemed to be asking for, I switched sharply to Huge Oil Pastel Drawings on paper. But the paper was itself began to drive me crazy. You can only push paper so hard before it rips. And I wanted to scratch & scrape much harder than that. I got my hands on canvas and once again started in an unfamiliar medium: paint. Jazzed about the new and robust nature of canvas, I spent part of '93 doing a number of abstracts looking rather Helen Frankenthaler-ish - which maybe was neccessary at the time. But I could not stay away from paper - I kept wanting to be working on paper - but I needed to be working on canvas - and drawn to type and design elements, I found myself adding paper, cloth, and additional texture in various forms to the canvas surface.
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Shape
OK, What shapes are worth painting? I was about to answer that when I then asked how do experiences with lovers affect your mind? What bounces around in your head while you are working? Is ART a floodgate spilling over glimpses of one's own moments ? I found myself drawn to the shapes of type, of the words on the page, to the shapes of tools. And engine parts. If you get very close to a tool the view is better. I found myself involved with the shapes of woman, tangled up with women, and drawn to the female form, both puzzles to be taken apart and put back together inside out, upside down.
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© 2011 SIEGE