The struggle of painting without using toxic turpentine led me to a discovery. It has been over a decade that I have been mastering a new technique that contains vibrant bold primary colours in a textural pointillism style, with individual dabs of paint rising in sometimes spiky protrusions from the surface of the canvas. Applied overtop a flat underpainting that suggests the finished work, these dollops of paint (actually individually laden brushstrokes) produce three-dimensional pointillism, and each serves to capture light and/or create shadows, depending on how light strikes the surface. The paintings look like they have little jewels applied all over the surface, and have rich, tactile quality with rhythm and symmetry. The ultimate goal I wish to accomplish, mastering my technique is to be able to captivate the energy of an inner glow in each individual painting and find it’s unique pulse.
Most recently the female nude has become the subject. Her landscape-like body manifests the tendency to intertwine with earthy Elemental Forces that I have been working with in the past. Spring is Air – youth. Summer is the Sun and the fruition of our mature years. Autumn is Earth – harvest time, old age. Winter is peace and death. Essential waters are transformed into snow. Currently I have been contemplating the essence of beauty, openness and the need to give and connect, I imagine our Planet as a vulnerable woman that needs to be respected, loved and cherished. I would like her to continue to flourish and give life.
Here are examples how some of my paintings relate to this idea:
Still Here reflects on the equality of women.
Unlike biblical Eve she is strong, not afraid or
ashamed but still waiting for the time to become
equal to men.