This exhibition continued my research into the phenomenon of images operation in memory. From 61 paintings 41 were selcted by curator Dr Yannan Dong and were exhibited at SUA.
The images explored an ancient technique 'cliche verres" used by the 19thC artist Corot where the painting is executed directly onto a photographic plate (in this case a plastic transparency) and then printed as a digital photogragh onto archival rag paper. At this stage the works on paper were then over painted using ink, acrylic paint and shellac and on occassion redrawn with either text or additional graphic elements. The result was a series of works whose surfaces were arresting but deceiving to view not being able to be located easily as photograps, paintings, abstraction or representations.
The process allowed for the recollection and reexamination of iconography from my own artistic past productions of images of the medicalised body, of a landscape appropriated from Caspar David Friedrich and from chilhood images of beaches revisited through memory but distorted by the implications of climate change. In this way the elusive capacity of recollection was used metaphorically in the works to question the real.