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Artist Statement for Jazz Green
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I am inextricably drawn to surface dirt and decay, the fragments found and imperfections revealed in the rural landscape: neglected pockets of land, dumping grounds, rickety outbuildings, overgrown patches of scrub, weather-beaten walls, wind-gathered litter or coastal debris. These areas often form the backdrop for resourceful hoarding, wilful neglect, childhood adventures or criminal mischief. The natural cycle of growth and decay is fused with the accumulating detritus of a modern age. These 'places' often have a strange but authentic allure, are an archive of colour and texture, a natural canvas traced with the drawings of human traffic and vestiges of manmade materials, where on closer inspection an abstract truth of a rural existence is revealed.
The inevitable influence of these disparate elements has translated into a painting process which is often unplanned, sometimes elusive, at times irrational, responding in turn to the random and accidental results. Whereas collage has allowed me to constantly “play” with the arrangement of previously constructed "matter", painting on the other hand means that any constructive decisions cannot be undone. The application and removal of scrawls, textures, inked-up marks and paint layers to reveal previously covered areas or make new deposits is a very anxious and labour-intensive process. This mirrors the effects of the vagaries of the British weather, or the transitory "markings" of unknown forces. The choice of a square format is one that I have adhered to as it is evocative of cataloguing artefacts or samples, or mapping territory. More practically, it can also be worked on in myriad ways, on the floor or wall, being rotated repeatedly, shifting focus and perspective, responding to the evolving surface, unswayed by the pictorial illusion of another format. It has also enabled me to play on the deception of scale; a close-up section of a bigger structure, or a cropped window on a larger vista. The recent use of a horizontal, a point of juxtaposition, fusion or tension, inevitably alludes to the horizon. The titles (the only allusion to actual subject matter) only come about after the work is sensed to be near completion, or 'speaks back' in some way. It is only through the actual making process that any conceptual influence or origin emerges.
Please visit my website for other works:
http://www.jazzgreen.com
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