In many of my recent pieces, I have tried to express that
underlying content through the materials themselves. The
paintings depict specific natural sites, but they also balance
representation and abstraction, at times defining and at times
dissolving the landscape image. They are as much about the
process of looking, thinking, feeling, and painting as they are
about a specific site: as much about inner as outer world. In the
works on paper, I use a mixture of media, including watercolor,
pastel, acrylic, and powdered charcoal and pigments, to create an
image that evokes the gritty, elemental presence of earth.
For a number of years now, my work has focused mostly on
landscapes that depict nature’s “off-peak” or fallow periods, when
plants die, bend, break, and lie in disarray, sinking back into the
earth, or when light fades into darkness. I want the paintings to
point to the way in which our human experience of beauty in
nature is bound up in these transitions: in cycles of decay and
regeneration, darkness and light, and form and formlessness.
I like a painting that is both beautiful and difficult.
Lately, I have been especially involved in working with irregular,
shaped pieces. I begin by assembling sketches and photos,
looking for relationships, for different ways to move through the
space. Then, I start working on several unattached pieces of
paper, and only begin to fasten them together with acrylic gel
medium as the image begins to develop. I keep adding and
tearing away pieces right up to the end. Sometimes a piece that
starts out vertical ends up as horizontal, and the image and the
shape keep evolving together throughout the process.
|Copyright © 2006 Petri Flint