‘The attendant reactions of the spectator viewing a painting both consciously and unconsciously connect to mythic signals about presence versus absence,revealing-concealing,clarity-mystery. Additionally the material  qualities of painting lure us into the work and arrest the gaze: the visual frequency of the surface also serves to ignite relations between the somatic and the semiotic.

For the viewer of painting, engaging with the haptic aspects of scanning a marked surface, can often produce synesthetic moments in which the encounter exceeds the image and carries the illusions of other sensations. A characteristic of painting premised on the work’s facture, is that it is seen to channel a sense of intimacy between painter, subject and beholder. The articulation of brush mark on the surface being a way of making manifest the emotions and thoughts of the artist. ‘Intimate’ in the sense that it reveals experience, familiarity or knowledge of the other. Be it a person, a thing or a process.’ (…Gidal)

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