Old Irish Jerry used to go and have his dinner in the pub every night after a day on the booze. He never seemed drunk, but jovial and pleasant, full of quirky stories. Following his meal he would have a little sleep at his table. Now, anyone who knows pub licensing laws – or just the rules of pub etiquette – knows you can’t sleep in pubs. So when asked as whether he wouldn’t mind waking up or going home, his reply came with still shut eyes, “I’m not sleeping; I’m just looking at the bright colours behind my eyelids.” I figured his answer warranted the luxurious state.
Inspired by intriguing characters like Old Irish Jerry my Source of Light paintings are a study of interesting characters. Combining Film Noir-style drama throughout, my paintings confront us with gritty depictions of men’s frailty, depicting character and feeling over true reflections of the characters’ appearance.
Do you know the scene in Wicker Man, when Edward Woodward is beside his hotel bedroom door whilst Britt Eklund writhes about, sultry like, on the other side. Irresistable, almost, only separated by a few centimetres of door. You imagine how he’ll break the door down to get to her. Instead he goes to bed.
This is an exaggerated form of how I’ve been feeling over the last few years with colour, following a couple of years painting in monochrome. I still bought and collected colours, leaving them in a box, occasionally looking at them, thinking about how great they could look on the monochromatic Source of Light painting series. Resisting them.
So it’s brung an extra gusto, to break them out, on a project that was already rich in gusto, catapulting the productive process.
Currently obsessed with how to ask questions of the viewer with paintings. Part 1 has to be how to attract their attention
Studio 234 Wimbledon Art Studios