The decision to create a particular painting is a complex process. What am I trying to say; what is the best composition to get the point across without either labouring it, or drifting so far into the realms of the obscure that meaning becomes lost; how big should it be; is paint even the right medium? There are of course many answers to all these questions, and none are necessarily right (or wrong).
My reasons for painting Lost Motion are, I hope, evident in the work. My reasons for choosing the style, colour palette and subject are less complex. I delight in rust, in depicting it, and in all that it implies. Rust speaks of impermanence, of decay, of the inevitable return of matter to element, of a recognition that our works are but a tiny scratch upon the surface of one of an infinite number of planets in an infinite universe. It’s also fun to paint, a challenge to get right but so satisfying when it works.
The other elements in the work flowed from the rust. I wanted a sense of massiveness, and the 140 x 103cm dimensions of this work help with that. I wanted a sense of an abrupt stop, and the use of organic materials to both build surface and also refer to nature’s gradual reclamation work helped with that. Just as well, it is also a challenge to use painting knives on a 3D surface, and part of the process was learning to handle my new 8″ and 10″ bladed knives, a gift from my Sister 🙂 Finally, I needed a device that suggested a relationship between the figurative and landscape/Industrialscape elements of the painting. Without the viewer even knowing what the object represented in the work is, the rust provides the clue.
Lost Motion is the third of my explorations into using materials within a painting, the second piece I have done this year, and the first of a new series exploring the complexities of our position in and the potentials of the technological age. I hope you enjoy looking at it as much as I enjoyed painting it.