Lumière Figure II
My recent paintings are based on stills from one of the earliest examples of cinema “The Arrival of a Train at La Ciotat Station” 1895, by The Lumière Brothers. I am interested in what could be called the "present moment-ness" of past events captured on film.
I wish to capture in pictures the journey I take when recreating (remembering) these images in paint. It is the very fluidity of paint and the time based activity of painting which allows me to take this journey.
Through distortion of image and perspective I create ambiguous image spaces that seem to lie in-between the past moment of the film-still and the surface of the canvas that we perceive in the here and now. It is within this new abstract image space that we find a specific duration captured – the duration of the making of the painting itself. This is my impossible subject – the event of a duration that contains my experience and activity of making, where the fluidity of paint and image, merge with an idea of the fluidity and distortions of memory and perception.
I wish to capture in pictures the journey I take when recreating (remembering) these images in paint. It is the very fluidity of paint and the time based activity of painting which allows me to take this journey.
Through distortion of image and perspective I create ambiguous image spaces that seem to lie in-between the past moment of the film-still and the surface of the canvas that we perceive in the here and now. It is within this new abstract image space that we find a specific duration captured – the duration of the making of the painting itself. This is my impossible subject – the event of a duration that contains my experience and activity of making, where the fluidity of paint and image, merge with an idea of the fluidity and distortions of memory and perception.
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