We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.
This is a painting I did for the large group exhibition we have on at the gallery at the moment. I was aiming not so much for a serious depiction of a horse as something about the symbolic power and grace of the animal. I was also after a bit of a surreal feeling. You can see the whole catalogue of wonderful equine-themed artworks here: http://hillierskusegallery.com/
This is a bit of a multi-purpose work, exploring two subjects that are deeply fascinating to me – the sky and the sea. I was trying to capture an unusual pearly light that you sometimes see at dawn, and I think I’ve got at least part of the way there. I’ve called the painting ‘Sea of Dreams’ because it looks a bit surreal to me.
My main interest here is in the sea and the sky; in the way these elements dominate the landscape and make humankind’s efforts at control look insubstantial. The sky, on this rainy day, set a sombre tone that was reflected in the waters of the Channel. The scene evoked thoughts about the transience and insignificance of my life compared to the sublime power of the natural world, and the verses from the Rubaiyat of Omar Khayyam included in the work give expression to these thoughts. It’s probably not possible to read the verses from this image, so here they are:
XXIX
Into this Universe and Why not Knowing
nor whence, like water willy-nilly flowing;
and out of it, as wind along the Waste,
I know not Whither, willy-nilly blowing.
XLVII
When You and I behind the Veil are past,
Oh, but the long, long while the World shall last,
Which of our Coming and Departure heeds
As the Sea’s self should heed a pebble-cast.
LXXII
And that inverted Bowl they call the Sky,
Whereunder crawling coop’d we live and die,
Lift not your hands to It for help–for It
As impotently moves as you or I.
A number of different processes and materials were used in this work. Silver leaf was laid down over some areas of the sky and a verdigris preparation was used as underpainting on the land and areas of the sea. The scene was then painted in acrylic paint. Some collage elements are included in the sky and for the text. The work was then coated in encaustic medium to give depth to the colours and to enhance the surface texture of the work. Details of the sea were added with oil paint and stylized cloud shapes were stenciled into some areas of the sky with the intent of contradicting a straightforward naturalistic reading of the work.
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