Gathering of Lines : Gallery Page and Strange, Halifax, NS, Canada 2008
The “Gathering of Lines’” was informed by “Proscenium Footlights” 2006 and the Borderline artist residency 2008 in Mae Sot, Thailand, whereby the brilliance of light an vertical lines imply a veil or curtain of red. Its’ gestural action implies that something is about to happen. The exuberance of monochromatic saturated colour, illusive content, and improvisation remain. The intent of the new work was to simplify the notions, and sensibilities of mark making and spatial colour into a cohesiveness of process, execution, and possibilities of meaning.
“Gathering of Lines” embodies two series of works “The Banyan Tree Suite” and “A Gathering of Monks”. In Thailand, I was awestruck by the enormous strangler fig tree (Bodhi, Banyan, or Pipal Tree), and its’ trunk, limbs, exposed climbing roots and strangling around itself -Buddha’s tree of enlightenment. The gusty and rhythmic movement of lines expanded the idea of Proscenium, and its’ consequential theatrics and dynamics . The Banyan Tree Suite is about light, movement, and the residue of a dialogue with the paintings that are open to interpretation and meaning.
“A Gathering of Monks” is more specific in the animating of lines into the emblematic. The Saffron Revolutions of protest by Burmese Monks of 1988, 1994, 2007, and the brutal treatment of Tibetan monks and citizens in 2008 were the impetus. The lines gather, huddle, herd and march in defensive or offensive formations at the gates, in marches in the temple, or at the palisades of protection. The verticality of being human, the dignity of the saffron robed monks, my exiled Burmese artist friends, the light and brilliance of nothingness were important sources of inspiration in devising the choreography and dance of the paintings.
“Gathering of Lines” embodies two series of works “The Banyan Tree Suite” and “A Gathering of Monks”. In Thailand, I was awestruck by the enormous strangler fig tree (Bodhi, Banyan, or Pipal Tree), and its’ trunk, limbs, exposed climbing roots and strangling around itself -Buddha’s tree of enlightenment. The gusty and rhythmic movement of lines expanded the idea of Proscenium, and its’ consequential theatrics and dynamics . The Banyan Tree Suite is about light, movement, and the residue of a dialogue with the paintings that are open to interpretation and meaning.
“A Gathering of Monks” is more specific in the animating of lines into the emblematic. The Saffron Revolutions of protest by Burmese Monks of 1988, 1994, 2007, and the brutal treatment of Tibetan monks and citizens in 2008 were the impetus. The lines gather, huddle, herd and march in defensive or offensive formations at the gates, in marches in the temple, or at the palisades of protection. The verticality of being human, the dignity of the saffron robed monks, my exiled Burmese artist friends, the light and brilliance of nothingness were important sources of inspiration in devising the choreography and dance of the paintings.
