These paintings are a sampling of the body of work “Fragments from the Magnetic Island”, which is composed of many small-scale paintings of abstract landscapes. Situating these landscapes into oval and rectangular shaped frames, the landscape is subsequently fragmented and further abstracted, in a manner similar to our ability to recollect the past, taking them further away from the physicality of the actual places they represent. At times the image is actually a compilation of one landscape on top of another using a digital transparency. Each framed painting then makes up the contents of a book, which reveals to us that these images of landscapes in Ireland are actually the contents of the artist’s memories of these places and the three-dimensional experience through time of actually walking through and inhabiting these places rather than staying fixed in front of a single view.

 

 

 

 

 

 

 

 

 

 

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Building from the idea that landscape and memory are deeply intertwined, these three now large scale landscapes, part of a larger grouping, also take the viewer to a specific place, now in Aranjuez, Spain. Painted in soft and swirling grays, blues, greens, and browns the landscape almost moves around the viewer with its thick winter fogginess. Less interested in attempting to capture the eye’s visual experience of being in the place, these paintings absorb the atmosphere of being there at this particular season, with greatest emphasis on the emotions evoked in the artist and the feelings and sensations of actually participating in that landscape.

The project Biogeography examines the way that landscape and organisms interact, both negatively and positively, in their never-ending influence upon each other. It begins with a plein air sketch of a landscape where was studying at the time and serves as a study for the following print. This digital print is a mixture of different printmaking techniques and drawings, in which the landscape is envisioned as a site of interaction, as if one can see both an external and an internal representation of the trees. This then leads to the following print of the fish, another technical experiment, in which inspired to draw elements of this image during a conference by Geerat j. Vermeij, in which the discussion focused on organisms influencing each other, invading each other, and eventually adapting. The head of the fish is covered with a sketch of mitochondria, whose possibility of dividing and multiplying themselves, references these ideas of nature evolving with the stimuli that is ever present, and therefore integrating into the environments of other organisms and creating balance. Countering but not necessarily contradicting this harmony, the next print, Simbio, a mixture of different lithography and screenprinting techniques, is an abstracted image based on influenza spores. This represents the human fear of such kinds of organisms, and hence our fear of interacting intimately with our environment. This visual investigation reaches the end of the series in the form of a video, in which the spores of influenza engage with images of the landscape. Set to music, this ‘dance’ appears like a ritual of courtship, as the two organisms excitedly mingle with each other, making everything appear normal while something actually destructive is happening to the landscape with the invasion of the deadly cells. The final comment doesn’t make a judgment call, ather it acknowledges fluctuation. This interaction is neither good nor bad, it is just the way life and organisms evolve, but it acknowledges that there remains the lingering fear of this type of change, and the reality of constant adaptation in any living organism, large or small.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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