thoughts on landscape
Like much of my current work, the shapes in the painting above (Ceide Fields, 36"x48" oil and mixed media on panel.) suggest land forms--craggy, textural--set against a pale background that can be read as sky or sea. This work comes out of my time in County Mayo, Ireland, a place where the strong shapes and complex textures of the bog and seacoast captured my eye and heart.
Landscape has been at the core of my work since my earliest years of art-making, and I've approached it in various ways over time--beginning with direct, representational recording of what I observed. Occasionally in these early days I would include a female figure representing "me." Below is an intaglio print from my undergrad years in which such a figure, seated in the lower left of the image, looks out at the scene. I see this now as an attempt to express my emotional connection to the experience of being alone in nature.
At the core of all my work over time is the expression of this connection. Over time my work has evolved into abstraction emphasizing color and texture which seem to me to be the most direct conduits to the feelings and memories I associate with specific places. While I've allowed in some landscape imagery, for the most part I've downplayed the sense of "scenery" (suggested by pictorial depth and obvious clues such as horizon lines) in my work of the past 15 years or so.
So I'm a bit surprised by some of the work coming out of my time in Mayo in its fairly obvious references to what I remember from my walks and drives along the coast and through the boglands. Below is another recent painting, Mayo Coast #7, 40"x30" which includes dark, rock-like shapes and the suggestion of falling water.
Surprising to find these images emerging--but also somehow liberating. I feel that I'm tapping into some essence or energy of that place that allows me to play more freely and directly with landscape imagery than I have in the past. Along with the shapes suggestive of rocks, bog paths, foliage and cliffs, I've also been including lines that refer to mapping, charting, writing and gridlike designs--lines imposed over the surface of the work that counteract its more representational aspects. Some of these lines are adapted from stratigraphic drawings shared with me by Greta Byrne, the archaeologist at Ceide Field near Ballycastle where I have stayed in Mayo as well as from the maps of ancient stone walls at that site.
I think of this recent work as expressing two aspects --inner and outer--of my personal experience in the Mayo landscape. The inner experience includes the the drama of weather and vistas, the gentleness of the bog, the crashing of surf, the quieting of thought, the moods of the time of day and the feeling of oneness with nature. The outer experience includes purely visual observations as well as awareness of ancient sites, geology and geography, culture and history. I'm enjoying the merging of the inner and outer experiences in these paintings.