‘El Greco’s Dream’ May 2014. What can I say, El Greco was a giant in the history of art – a sublime artist. 300 years before cubism he was bending 3-dimensional space to convey his sense of the transcendent.
‘Heraclitus’ May 2014. Heraclitus was a pre-Socratic Greek philosopher and is famous for his insistence on ever-present change in the universe. This image was inspired by reading his words;
“Thus there are no solid bodies. Things are not really things, they are processes, they are in flux. They are like fire, like a flame which, though it may have a definite shape, is a process, a stream of matter, a river. All things are flames: fire is the very building material of our world….”
‘Hibernia’, April 2014. This image again came out of nowhere. I am always in awe of the processes of creativity. I have no idea how this takes place but somehow a multitudinous synthesis of thought, feeling and impulse takes place; too many experiences to manage are brought into harmony and everything is made good as a result.
‘The Chasm’, March 2014. After some time and several life changes plus the advent of spring, art and nature have begun to flow again! This image which emerged to my surprise of its own accord represents nothingness, between and behind everything. It cannot be thought about, imagined, destroyed or created…. It is the only possibility without an opposite and which makes everything possible…
This image ‘Entrance to Pratalaxaz’, December 2013, is an introduction and opening into the quasi-mystical, fantastical world of Pratalaxaz. The real, imaginary domain that lies always outside the already-known, so you won’t find any knowledge of this exotic world on google. Think lapis lazuli, the immediacy of epiphanies half understood, Kubla Khan, scientifically studied with common sense and you will be on the right track to the entrance…
‘Image in the Mind of a European’ created November 2013. In the words of T.S. Eliot: “What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it.” Eliot refers to this organic tradition, this developing canon, as the “mind of Europe.” The private mind is subsumed by this more massive one. …He compares the poet to a catalyst in a chemical reaction, in which the reactants are feelings and emotions that are synthesised to create an artistic image that captures and relays these same feelings and emotions.