“The Materiality of Colour.”  In ugliness, one is exposed to the naked fact of our helplessness; my subsequent need for beauty is a yearning for shelter, a way out from such powerlessness.  As an artist, I draw on the spirit of Romanticism, that and Disney. This need to balance and retain integrity and wholeness is evident in my painting. As a figurative artist I endeavor to avoid the tendency of high key colour to dissolve forms. I prefer to employ an approach that emphasizes the ‘’materiality of colour’’ and its integration with form.  The fattiness of the pigment stands for earthly materiality; the compounds of existence, Colour provides the spirit, the animus; this inhabits the stuff of life. The result is a tactile sense of colour.  The ‘’Kabala ‘’or Tree of Life has at its base ”Malkuth”, a state of heightened earthly beauty, a grounded earthly paradise, a suffusion of light, intense colour, and physical wellbeing. ….. My preference is for an earthy palette, a sort of
            “The Materiality of Colour.”  In ugliness, one is exposed to the naked fact of our helplessness; my subsequent need for beauty is a yearning for shelter, a way out from such powerlessness.  As an artist, I draw on the spirit of Romanticism, that and Disney. This need to balance and retain integrity and wholeness is evident in my painting. As a figurative artist I endeavor to avoid the tendency of high key colour to dissolve forms. I prefer to employ an approach that emphasizes the ‘’materiality of colour’’ and its integration with form.  The fattiness of the pigment stands for earthly materiality; the compounds of existence, Colour provides the spirit, the animus; this inhabits the stuff of life. The result is a tactile sense of colour.  The ‘’Kabala ‘’or Tree of Life has at its base ”Malkuth”, a state of heightened earthly beauty, a grounded earthly paradise, a suffusion of light, intense colour, and physical wellbeing. ….. My preference is for an earthy palette, a sort of
The Yellow Rose            “The Materiality of Colour.”  In ugliness, one is exposed to the naked fact of our helplessness; my subsequent need for beauty is a yearning for shelter, a way out from such powerlessness.  As an artist, I draw on the spirit of Romanticism, that and Disney. This need to balance and retain integrity and wholeness is evident in my painting. As a figurative artist I endeavor to avoid the tendency of high key colour to dissolve forms. I prefer to employ an approach that emphasizes the ‘’materiality of colour’’ and its integration with form.  The fattiness of the pigment stands for earthly materiality; the compounds of existence, Colour provides the spirit, the animus; this inhabits the stuff of life. The result is a tactile sense of colour.  The ‘’Kabala ‘’or Tree of Life has at its base ”Malkuth”, a state of heightened earthly beauty, a grounded earthly paradise, a suffusion of light, intense colour, and physical wellbeing. ….. My preference is for an earthy pal
Fire Horse.            “The Materiality of Colour.”  In ugliness, one is exposed to the naked fact of our helplessness; my subsequent need for beauty is a yearning for shelter, a way out from such powerlessness.  As an artist, I draw on the spirit of Romanticism, that and Disney. This need to balance and retain integrity and wholeness is evident in my painting. As a figurative artist I endeavor to avoid the tendency of high key colour to dissolve forms. I prefer to employ an approach that emphasizes the ‘’materiality of colour’’ and its integration with form.  The fattiness of the pigment stands for earthly materiality; the compounds of existence, Colour provides the spirit, the animus; this inhabits the stuff of life. The result is a tactile sense of colour.  The ‘’Kabala ‘’or Tree of Life has at its base ”Malkuth”, a state of heightened earthly beauty, a grounded earthly paradise, a suffusion of light, intense colour, and physical wellbeing. ….. My preference is for an earthy palette
Swan Lake 2, 30x40cm Oil on Canvas
The Holy Mountain 1            “The Materiality of Colour.”  In ugliness, one is exposed to the naked fact of our helplessness; my subsequent need for beauty is a yearning for shelter, a way out from such powerlessness.  As an artist, I draw on the spirit of Romanticism, that and Disney. This need to balance and retain integrity and wholeness is evident in my painting. As a figurative artist I endeavor to avoid the tendency of high key colour to dissolve forms. I prefer to employ an approach that emphasizes the ‘’materiality of colour’’ and its integration with form.  The fattiness of the pigment stands for earthly materiality; the compounds of existence, Colour provides the spirit, the animus; this inhabits the stuff of life. The result is a tactile sense of colour.  The ‘’Kabala ‘’or Tree of Life has at its base ”Malkuth”, a state of heightened earthly beauty, a grounded earthly paradise, a suffusion of light, intense colour, and physical wellbeing. ….. My preference is for an earthy
The Holy Mountain 3
The Holy Mountain 2
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