I suppose that in incorporating elements of the ruination particles from under the bridge I have accepted some elements of the liveliness of the stuff that goes on in that space, almost ingested them and they’re being absorbed into my own more lively work as a kind of magical rite.


Through engaging with Andre Masson’s early automatist paintings and surveying the other aspects of his work I’ve gained a sense of more aggressive and expression of vitality and death drive. A loss of my self a kind of otherness I have absorbed aspects of the material qualities of what I’ve been looking at in terms of ruination.


Water seems to have been a large agent in ruination and is a large force in my paintings, since I use acrylic.


I usually have many paintings on the go at the same time, or else I start to think to much about what I am doing and the working process becomes somewhat hampered by rational thought processes.


Overall in both Ernst’s and Masson’s work there seems to be an unevenness of application of marks and overall look of the work. This would fit in with the nature of the self in surrealism as open and changing and multiple. Something which I feel when I’m painting because it can expose different assemblages I’m involved in over a period of time. I read about Masson’s chest injuries in world war one and then coincidentally ended up with a serious chest infection. Incorporating the finger and brush drags with the use of a scaper as well seems to have assisted me to collapse elements of Andre Masson’s and Max Ernst’s practice in a synthesis. I’d previously avoided overly expressive marks in my painting because of the postmodern dogma that insists that this was not possible for various reasons.


Having had bronchitis recently seems to have loosened up things somewhat as I have less conscious control and felt weak which led to less control of the marks and composition. So, it seems like these were produced in tandem with the bacteria which had infected me.




Also the work I’d carried out in the sketchbooks seems to have had a large effect on the roughness within my paintings and desire for a lack of polish. I used lots of self-levelling gel, which is fluid and dries matt, mixed with white ultramarine and burnt umber and sometimes black. Some ruination particles were included in this mix. The works are beginning to have much more of the look of the found images which made in 2013 because I have loosened up and stopped caring so much because of the amount of drawing which I carried out in those sketchbooks.


I find that uploading images to my website helps to focus which images I think are successful and then I start to name them through a process of association.

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