I started this small series in late 2019 as an experiment in mounting
semi-transparent Mylar layers on board. The house shape which is placed under the
top layer suggests to me a safe place to live, grow, love and create.
The work soon took on a life of its own reflecting the current stories of historic floods, fires and masses of people seeking asylum. Perhaps the piece Neighbours at Night foretold of the isolation we would experience in 2020.
My little garden is like a private oasis bordered by a thick barburry hedge and curved flower beds surrounding the bird bath and feeder. It's heavenly to sit in my favourite corner; my book punctuated by the starting and stopping of the singing birds. The hedge can host two or three choirs at once. Other feathered friends call out from on high in surrounding trees. The Bird Song is almost constant; sometimes with loud chatter, tiny chirps, or a solitary melody.
This series of drawings/paintings is a celebration of their gift of song which reminds me that my world is teaming with life.
The opportunity to use photographic images of Bruce Flower's figurative sculptures opened a new world of exploration for me. I have long admired Bruce's dedication to his work and his mastery of drawing which is clearly evident in his sculptures. His images capture a moment in time but the emotion they express is far from static. This feeling lead me to free them from their fixed position "on the wall" thus having the figures moving, floating, dancing or flying in a mysterious, spiritual or dreamlike plane of existence. As I studied Bruce's images during the months of work I was more and more deeply touched by the human tenderness and caring he expressed. I was inspired to surround his figures with drawings of joyous, angelic moving figures of my own.
My use of semi-transparent mylar is central to the layered creations of this series and to my work of the past few years. Drawing the viewer into the mysterious layers creates the experience of searching and discovering something almost out of reach. Photographic images can be seen from under a layer of mylar. Veils of colour and drawing marks on the mylar surface often hide most of the image. The act of erasing, scratching or sanding exposes the hidden images. Reworking often takes place until I intuitively reach a completion.