The aim of this work is to mediate between the audience, at the level of each individual’s sense of self, and the physical world we all inhabit. My objective is to inspire a greater understanding of our commonality and of our commonality as a basis for cooperation between ourselves and our environment. Drawing upon, as inspiration, the full modus operandi of late European Baroque art – as well as the remnants of pre-reformation British art – the work combines different forms of representation, techniques and materials to situate the viewer within the richness and depth of our existence and communicate its concomitant nature.
Symbolic of nature’s regenerative capacity, the immutability of the past and the transience of the present, the work is intended to show how the sensory, imaginative, conscious and pre-reflective self is ineradicably bound up with the given world. The trees, the flowers and the birds, by representing growth, extent, repetition, and transformation are intended to create, by linking earth and sky, space and time and life and death, a space that articulates and reveals our mutual embodiment and codependence.
For a long time I have been interested in the techniques and materials used in German and Italian Baroque and pre-reformation British art. Counter reformation German and Italian Baroque sculpture, side by side with architecture, painting, music and theatre, was particularly triumphant in its ability to communicate relationships: spatial, temporal and conceptual. The artists and advocators of the Baroque worked hard to generate “complete works of art”: combinations of the arts that worked to fully encompass the viewer and inveigle them of the reciprocity of existence. The Baroque has had a considerable influence on me and my work and I think that there are lessons that can be learnt from the Baroque in how art might better make apparent the totality of the experienceable world: the immediate as well as the incalculable.