Ok, so the parameters I set myself were to look more closely at the present day with this body of work but when these rondo timber offcuts came my way [in true arte povera style – from a skip] I created the most honest immediate response to them I could.
This work prefigured a return to drawing for me and seemed to trigger an analysis of the whole september 11 event which was being memorialised at the time. I was recalling how betrayed I felt when the global political response showed no awareness of hubris or any sense of the need to learn, to change, to grow from the devastation..they just met it head-on with more destruction, making more enemies and creating a harsher, more dangerous life on planet earth.
This work is a meld between architectural and aviation ruins. Architecture and aviation are things I return to frequently because, before becoming a painter, I often explored being an architect or a pilot. The skyward visionary quality of these professions attracted me, however it’s becoming clear why I entered into painting instead as it allowed me to be even more questioning and free of gravity. I needed to find an immediate tactile response to the enormous allure of my dream experiences too
Inspired by a black and white photograph of a lost Frida Kahlo painting this work was how I embarked on the ASH journey.. painting my way through the ruins and the hubris of the 21st century
CrashTest was a breakthrough painting for forthcoming ASH at Space 39. The flattening of the picture plane, the primary colours and the viewpoint all opened out the paint surface and felt utterly unique in my work process.
I keep encountering this painting at it’s owner’s desk at work..I still like how this one suddenly had the exploding Range Rover appear in the last five minutes of painting… changing the reading of the work altogether