There is something very special about the cinematic experience that effects us so strongly. It is a world that exists in parallel to our own, impersonating reality in every superficial way, but more intensely; “it makes the world more than it is”. (Gilbert-Rolfe)
This work acts principally as mediation. Derived from film imagery, these paintings deal with our perceptions of this illusionistic film world and question the truth of the scene presented. The film world turns reality into a set or stage. Even the most rigid of structures can be reconstituted through photography and filmic devices. Through this filtering of information an image is removed further and further from its origin and is allowed to take on an identity of its own.
Colour relationships are a key factor in this work as the paintings deal with lighting and atmosphere. How to convey claustrophobic interiors, the purity of external light or the glow of artificial lighting are challenging painterly concerns. Glazes of transparent pigment are layered to create a smooth, flat surface that suggests the fluidity and vibrancy of film. By building up the layers in this way, the paintings mimic the developing process of photographic prints. It is the reverse of bleaching a photograph yet has the same effect of striping down the components and deconstructing the image.
It is important that the scenes feel like moments in time that have events that precede and follow. They feature doorways and windows that offer a space beyond. These ambiguous sets are each composed of elements that relate to our understanding of space, but information is held back so that they are open to interpretation; the precise reading may differ from viewer to viewer.