This is a series of little images(1) of the night; the sky, the mountain, and the space in between. Just after twilight, once known and discernible features in the landscape become one-field, under a veil of Indigo that finally turns to Prussian blue. In the moonlight these colours change again, acquiring depth and luminosity.
The materiality of the work is integral and evident; the paint moves across the surface of the support in much the same way that clouds form and merge as they move across the sky. This quality is often magnified to emphasise the notion of Nietzsche’s ‘least thing’(2).
The inherent nature of the materials is at-one-with the application. The gestural nature of the mark combined with the hand-made surface reflects the conceptual basis for the work which is drawn from the pantheist notion that – there is no separation, everything is connected.
(1) The term ‘little Images’ refers to a series of works by Lee Krasner from 1946 – 1950, where she painted images within images.
(2) ‘... the least thing precisely, the gentlest thing, the lightest thing, a lizard’s rustling, a breath, a whisk, an eye glance – little makes for the best happiness. Be still’.