Body of work - Our liminal state

My work here offers us a glimpse of the space in which we, in the physical body, exist - in the presence of something earthly and the surroundings of the eternal. We subside in this liminal space between consciously existing and non-existence   from the moment we are born.
 If we are condemned to life we are simultaneously obligated to be free from the structures imposed upon us because we are primitively constructed as ourselves, with the liberty to become ourselves.
 In the paintings we can now begin to choose, for ourselves as individuals, what it is we want to see, to believe, without a pre-conditioned or pre-existent element of choice – we may now begin to question, or we will forever dwell in the liminal shadows of nothingness.

 

Francis Bacon - liminal realization

'The following is an extract from a conversation Between Francis Bacon and David Sylvester.

It is, if one may say so, Bacon's profound realization of his own liminal style of Painting, the characteristics of  both abstract and figurative painting, and the nature of paint itself'.

7 head 1 1961

"For instance, the other day i painted the head of somebody, and what made the sockets of the eyes, the nose, the mouth where, when you analysed them just form which had nothing to do with the eyes,nose or mouth; but the paint moving from one contour to another made a likeness of this person i was trying to paint. i stopped; i thought for a moment i'd got something much nearer to what i want. then the next day i tried to make it further and to make it more poignant, more near, and i lost the image completely. Because this image is a kind of tightrope walk between what is called figurative painting and abstraction. it will go right out from abstraction but will really have nothing to do with it. It's an attempt to bring the figurative thing up to the nervous system more violently and more poignantly".

'Liminality' and 'Nothingness' :

The following body of work is an attempt to eradicate everything that should give the viewer any sense of place or identity, it takes the minimalist approach in trying to tap into the idea of the liminal 'nothingness'

These works are removed  from almost all sense of representation  in order to offer more uncertainty to the viewer, and to eradicate any sense of belonging and eliminate any feeling of comfort the viewer may find in correlation to an object within the composition.

The works emulate so much ambiguity that the style of painting itself is now also in the liminal phase between abstract and representational art.



These works offer the viewer a glimpse of what they may interpret as an everyday object and the uncertainty of it ‘being’ or ‘not being’ while capitulating themselves to the psychological  space around these objects and offering them a taste of the liminal nothingness that may lie
ahead of them, reminding them
of the 'fragility' and scarceness of
of ones life.