Location: United Kingdom
In the past,
I have described my work as ‘minimalist’ because I try to remove as much information
as possible, retaining only those details which enable the viewer to recognise the
form being depicted.
However, recently
a collector of my paintings told me she sees my work as a depiction of the ‘unknowable
in the known’; the ‘abstract formless within form’;
‘the nothingness in every atom’; ‘space creating the
illusion of borders and separation’. This was a eureka
moment for me. The essence of all I have been trying to depict, throughout my
life, expressed in 21 words.
I have read about
theories in quantum physics that hint at interconnection and interactions
between particles, beyond perceived boundaries and when I look at a scene or
object, I see empty space as the delineator of form, rather than the more
readily perceived ‘borders’, created by an infill of atoms. However, I assumed this
way of ‘seeing’ the world was simply an artistic mind, uniting formed with
unformed; refuting borders, merging within and without.
For years, I
strived to simplify the complex and to invite the viewer to rest between lines
and vast areas of space. However, I now realise there is much more to it than
that. There is a sense of manifest form acting as a visible expression of the unmanifest
formless.
Space
dominates my work because it is the empty space that allows perception of form.
It is also the empty space that enables form to manifest (i.e. the space present
within each atom. Refer to Humanity in a sugar cube, below).
In recent
years, the number of lines in my work have gradually reduced and the amount of
space has grown; solid lines have lightened in tone or become finer, less
pronounced. Where possible, boundaries have been replaced by paper cuts
(entailles) which disappear when viewed from a distance and re-appear when struck
by light. Increasingly, I am depicting empty fullness, the dominant presence
everywhere which we overlook due to our inherent tendency to focus on form.
(‘Humanity in a sugar cube’, in simple terms, this suggests
that humans are 99.9999999% nothingness and if all of that nothingness was
removed, 8 billion people would fit inside a sugar cube. Furthermore, mathematically,
it’s suggested that the entire human race would occupy only about 0.25% of the
total volume of a sugar cube). Mind blowing!
It is said that Barn Owls once flourished in the temples of ancient Egypt where they were believed to guide spirits from one world to the next.
In Feng Shui, owls are considered auspicious and are often associated with wisdom, protection and the ability to see the unseen.
In Hinduism, owls are symbolic of wisdom, good luck and prosperity and the (white) Barn Owl, in particular, is said to be the ‘vahana’ (vehicle) associated with Goddess Lakshmi. The (white) Barn Owl is also mentioned in connection with Alakshmi (Lakshmi’s older sister) although, in that form, it is believed to serve as a reminder of the arrogance that can sometimes accompany excessive good luck and wealth.
However, regardless of all the fascinating associations, worldwide, Jean assures us that his striking, minimalist owl will make a positive impact, wherever in the world it hangs.
The work dimensions are as follows:
Framed: 52.5cm wide x 72.5cm high x 3.5cm deep
Mounted (unframed): 50cm x 70cm
Unmounted & unframed: 48cm x 59cm (paper size)
Gold leaf circle: 9cm diameter
Owl (wing tip to wing tip): 47cm
Melancholy and yearning are beautifully depicted here in this emotionally charged minimalist figure, inspired by Alfred Lord Tennyson's 'Mariana'.
She only said, "My life is dreary,
He cometh not," she said;
She said, "I am aweary, aweary,
I would that I were dead!".
Yet, despite the sad theme, the overall impression of this mixed media work, is one of serenity and beauty. Wisdom gained through loss. Hope battling despair.
(The size shown is for the work, mounted and framed).
Exquisitely delicate minimalist depiction of a mermaid, presented mounted and framed.
The artist tells us that the entailles in this work were the most complex he's attempted to date, "The body to tail line was particularly challenging; it had to be done in one sweep, without a break. I held my breath all the way, as though underwater myself...". As you will see from the images, the result is stunning.
Size 73cm x 53cm x 4cm. (The size shown is for the work, framed).
This beautiful, minimalist, work entitled, 'Aphrodite Rising', depicts Aphrodite rising out of the sea foam.
53cm x 73cm x 4cm (NB: The size shown is for the work, mounted and framed).
“Flight of the Barn Owl”
“Mariana 2”
“Sirène 3”
“Aphrodite Rising”
