(what lies beneath, what is projected and what appears to our eyes)
‘to cave’ involves inherent surrender and collapse
but a cavern is a place for shelter and storage.
Paintings are cavernous surrogates for the soft body.
History is thrown like bones that tell the future.
In the woven marketplace; with its surplus practices and idolatry
the everyday and the mythic lie in the same space
(quilted femme stories)
Beware the dog with dog eared nature
and don’t drink the badwater.
BOTH FLESH AND NOT (writings on paint and drawings)
Red is menstruation, a STOP sign, is life, sex, love and death; it is a colour that communicates directly that is both synthetic and animal. The first drawings on caves used russet ochre as the primary pigment, because it can be mined from both the earth and the body. Vermillion blooms timeless. The Hindu philosophical vision of the powdered pigment represents lushness and abundance of the regenerative spirit.
It is hard to capture the puce tincture through the screen, it’s luster blows out through the pixel. It is a colour that is felt and moves, is it not static. Red is symbolic of masculinity and rejuvenation; of both the interior and exterior. It demands an intimate response from the gaze that witnesses it. My work is stained by infrared, the colour of a blouse, and for me, the colour of power. It is the colour of night where “all superfluous connotations disappear” (Dumas, 2007:145).