I am often asked why I paint trees in particular, and why I paint them the way I do. Firstly, 'Ceci n'est pas un arbre'. I painted pictures. Secondly, I paint in a way that is ornamental, excites me and whilst representing things actually are works of imagination. Thirdly I make images that I now know are popular, without setting out to please a following or make me money.
Where I am at this point is happenstance. I have been painting for years, returning to my passion in 2004 after a prolonged break. I experimented but mainly tried to create works based on landscapes. This developed to include more abstract elements. For example, landscapes made from coloured circles, or crude pointillist marks and strokes. I then incorporated Oriental effects, impressionism and tried oil paint. Then I stumbled on a painting by Paul Klee that had an irregular rectangular pattern background. I decided to try a proper abstract in oil using a small number of circles on the colourful background broken up into rectangles. I was happy with the result. But it was still not enough. Then for one reason or another I had another anxiety attack, leaving my job and moving far away from home to try and refind myself...again. I didn't make another painting for about a year.
I have for as long as I can remember loved the work of Gustav Klimt. I studied The Kiss for my A Level in Art History. I didn't pay much attention. Time spent at college was lost drinking/smoking/smoozing time. Little did I know or care the effect the work of Klimt would eventually have on me. But not just Klimt. Many others beside. Coupled with my love of nature, the ornamentation has become a mainstay of my work. But why?
Many people like to own paintings that provide another window onto the outside world. Accurate representations of another place, upon which they can gaze, dream and remenisce. Others like pure fantasy, preferring to appreciate works of imagination, another glimpse into the workings of the human mind. Coupled with beauty and colour, my work now, I think combines the two. Desirable works of imagination, based upon the real world with a twist.
I watched a program the other day, where an art historian theorised why some works had been painted, analysing what that artist was trying to say. No doubt art is used as a medium of communication, hiding meanings where necessary. Just look at allegorical works of the Renaissance. However, surely some pictures are made to be beautiful and nothing else. And why not? Looking deeply into paintings does bring a new level of understanding and appreciation, sometimes resulting in details absorbed that would otherwise have been overlooked. When you look at my work it is clear what I am trying to say. Look, look again and enjoy. Don't try and read anything in to this. It's not there, or if it is, it's not intentional.
Which neatly and eventually brings me to Tree#1. I went to the library in Bude one day and borrowed a book about Gustav Klimt. Having time to read through it properly, being unemployed, I marvelled at the intricacy of design, vibrant use of colour and interest of subject matter. How did this fella decide this was the way to paint? My brain started working, formulating a plan for a new way of painting different to any way I hhad worked before. But there was a fear in my mind, something that required using, liberating and overcoming. I waited until the time was right and I knew when that was. I started to struggle again with anxiety, needing a distraction to help cope with deep chasms of doubt. And the tree came.
The sky is based on some pieces by Paul Klee and painted with transparent acrylic. The tree was mine, although inspired by Klimt, incorporating gold in to the bark to achieve a more life like effect. The foreground again has the feel of Klimt. So the Tree of Life from the Stocklet Frieze was the a model. I never set out to create a copy and I think that is the case. The tree is dressed with coloured flags to break up the sky and provide interest amongst the branches.
So, the 'tree' helped me crawl out of a pit. The reference, colours used and close association with nature, allowed me to start out in another direction. And it's hugely popular with people. The representation of the tree is not meant to be the focus of the picture. It is the skeleton around which everything else hangs. This is now a recurring theme and when I am told that I paint trees I have to explain that whilst there is obviously a painting of a familiar object in my work, there is much more going on around it, familiar and unfamiliar, open to interpretation and there to be enjoyed.
I don't copy, just adapt concepts and images I personally admire. It's my work. It would be a huge coincidence if an exact replica can be found that pre-dates my work. My brain works hard to create more intricate appealing designs, constantly moving forward. When the muse does not take me in the direction I want, I change my style, focus on something else and change the colours I use.
I am a part time artist, using my skills, experience and interest to enrich my life and as a happy by product enrich the lives of many more. My walls are covered with my work and I love it. Have fun and good luck.
