Personal Assessment of
Work to Date 15/6/1987
"The paintings, 'Two Egos', produced in late 1984 was a turning
point and new development from those paintings strongly influenced by
the 'Victim' series. The 'Victim' period for me was essential and
formative in that I searched my own subconscious and spirit for those
influences indirect or direct, inherent or imposed, that have deeply
formed my nature, personality, character, understanding and beliefs, in
an attempt to have insight into those same elements in our society.
The crucifix 'Victim, no
Resurrection' was the major work of this period and still today
expresses for me all that I felt is crying out in the spirit of Ecco
Homo. The statement in the title 'no resurrection' isn't anti-Christian
but an expression and warning about the degenerative lack of spiritual
belief and confidence that I felt, and still do believe, has permeated
our society and produces hopelessness in those who are deprived and
discarded, and destructive spiritual emptiness in those who are
en-captured by 'materialism'. This painting was followed by the 'Room
Series', but in retrospect the work was becoming too introspective and
paintings such as 'Bird of Paradise' were attempts to fly free and
release the spirit in confidence. However, it took a trip to New York to
break my thought pattern and produce 'Two Egos' which symbolises human
strength and confidence, realising its weaknesses but not dominated by
'Two Egos' was also an attempt to scale down to a smaller size without
losing strength, content and expression. I had felt, and still do, that
I had at times used large scale too automatically, that though size was
a flexible tool, content, value and success of the work were not
relative to the size of the painting. It was also apparent to me, that
like many artists today, we are influenced to produce work for
galleries, and forget people.
During 1985 the scaling down process continued as I experimented with my
craft and creativity in work one tenth the size of paintings 6 months
earlier. What is now, in retrospect, obvious is that many of the works
that followed 'Two Egos' were on the rebound from the introspection of
the previous period and expressed observations and feelings about our
society that are nearer the surface of our nature, and can be seen
through deeds, actions and situations. This period produced many
hundreds of small illustrations that led to the publication of 'Her
Revealing Dress' and paintings such as 'Man Tries Daring Feat'.
However, the confidence, directness and simplicity of 'Two Egos'
continued and I began in 1986 to experiment and take further those
parameters that I felt made 'Two Egos' a successful new development: no
black; increased yellow; dominant cropped torsos; less conventions i.e.
horizontal/vertical lines; reconsideration of personal symbols i.e.
vase, window, table, bird etc.; less air brush, small scale, etc.
This turning point created by 'Two Egos' is still with me in 1987, but
diminished in working importance by more recent works such as 'Land of
Hope and Glory' , 'Cathedrals', 'Women Can't be Angels'."