Banyan #4, 2008, 30" x 30", oil on canvas
Bodhi, 2008, 30" x 30", oil on canvas
Mae Sot, 2008, 18" x 16", oil on canvas
Holding the Line, 2008, 30" x 30", oil on canvas
The Lost Bird of Paradise, 2008, 30" x 30", oil on canvas
Moen, 2008, 30" x 30", oil on canvas, private collection
These series of paintings were produced in 2008 evolving from my artist in residence at the Borderline Gallery in Mae Sot, Thailand.
The ‘Gathering of Lines’ was informed by “Proscenium Footlights” 2006, whereby the brilliance of light an vertical lines imply a veil or curtain of red. Its’ gestural action implies that something is about to happen.
The exuberance of monochromatic saturated colour, illusive content, and improvisation remain. The intent of the new work was to simplify the notions, and sensibilities of mark making and spatial colour into a cohesiveness of process, execution, and possibilities of meaning.
Proscenium Fooltights, 2006, 30" x 30", oil on canvas, NS Art Bank
In February 2008, the loosely titled “Gathering of Lines” began, and embodies two series of works “The Banyan Tree Suite” and “A Gathering of Monks”. The new work was greatly influenced by my artist in residence at the Borderline Gallery in Mae Sot, Thailand in January and February of 2008.
‘Gathering’ refers to the gathering of vertical gestural lines. In Thailand, I was awestruck by the enormous strangler fig tree (Bodhi, Banyan, or Pipal Tree), and its’ trunk, limbs, exposed climbing roots and strangling around itself. Buddha’s tree of enlightenment. The gusty and rhythmic movement of lines expanded the idea of Proscenium, and its’ consequential theatrics and dynamics . The Banyan Tree Suite is about light, movement, and the residue of a dialogue with the paintings that are open to interpretation and meaning.
Banyan6, 2008, 36 x 36, oil on canvas
Roe, 2008, 42" x 42", oil on canvas
Mywaddy, 2008, 24" x 20", oil on canvas
Strangler Fig, 2008, 24" x 24", oil on canvas
“A Gathering of Monks” is more specific in the animating of lines into the emblematic. The Saffron Revolutions of protest by Burmese Monks of 1988, 1994, 2007, and the brutal treatment of Tibetan monks and citizens in 2008 were the impetus. The lines gather, huddle, herd and march in defensive or offensive formations at the gates, in marches,in the temple, or at the palisades of protection.
At the Gate, 2008, 30" x 30", oil on canvas
At the Wat, 2008, 42" x 42", oil on canvas
Before the Parade, 2008, 30" x 30", oil on canvas, private collection
Huddle,2008, 42" x 42" oil on canvas
The verticality of being human, the dignity of the saffron robed monks, my exiled Burmese artist friends, the light and brilliance of nothingness were important sources of inspiration in devising the choreography and dance of the paintings.
The Monkey's Grotto, 2008, 56" x 56", oil on canvas
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