The work here is an attempt to find a visual language for the duality between our necessarily abstracted experience of place and being in the new digital landscape, and our perception of place and being in relation to the more tangible primeval geological past. It is an attempt to use the visual lexicon of the past to articulate and chronicle our experience of the transient, often invisible now.
This interplay of past and present place and time exists in the intermingling organic and inorganic forms on the canvas, in the physical act of making the work and in the perceived embodied experience of what is made. The processes used in the studio echo the naturally occurring processes of concealment and revelation in the physical act of erosion in the natural environment.
Organic material such as fine river clay taken from the Caher river bed is applied in layers, and then weathered over time. The act of construction in the layering and the deconstruction of etching and sanding and dissolving, and the transformational potential of the material, enables the observed materiality of the landscape to be embodied in the tactile surface of the piece.
At the same time, the use of the reflective qualities of enamel on textured coloured surfaces allows forms to appear and disappear, their visual reality in time shifting and impermanent. The inorganic materiality of the enamel and its translucence allows it to be part of the whole, but with a different separate narrative.