I wanted to establish that beauty and terror can be encapsulated in nature, not just in depicting wild animals, but in extreme weather and the terrain that it affects. In complete adversity, mankind endures many naturally destructive elemental forces, but I didn’t want to sanitize by reference to evergreen storms of drama set, for example, in Beethoven’s Pastoral Symphony, but hurricanes, typhoons and tsunamis, sandstorms, snowstorms and ferociously extreme temperatures in deserts and polar regions, for example.
In reverse psychology, I’ve used accessible coloured inks to depict dark, remote and terrifying ordeals, wreckage, carnage and the fickle nature of areas of the world that are completely cut-off from human moderation. Damage, fear and violence, floods, drought and starvation are all locked in a cycle of self-destruction, yet have a universal beauty or logic. From isolated mountain ranges, volcanic explosiveness, cloud formation, oceans that are menacing, polar extremes, deserts are all shown by extreme boldness, yet accurate dimensions on the back of envelopes, discarded, rejected and littering, scarring the landscape that intrudes and invades.
Yet they are framed by transformation of second-hand frames acquired from charity shops, jumble sales, and the detritus of human exploits and civilisations, yet are strikingly bold and colourfully painted. Here, paint and ink are universal
See the whole series here