Vibrant impassioned figurework, still-lifes and landscapes. Oils by painter with doctorate in animal behaviour who now finds art more significant than science. Works often reveal that complex route. Inspiring conversation helped by homemade wine.
My paintings concern an eternal triangle: Man-Woman-Nature. 'Visual Poetry' might best sum it up but these days I see parallels with opera, insofar as the passion involved. While conceived in the natural world - among rocks and living things - the studio is also my natural habitat and the models there I regard as (mostly!) domesticated wild animals.
So paintings grow in the margins where Civilisation meets Nature meets Man meets Woman –wherein lies the sexual energy of landscape and its coexistence with, and sometimes equivalence to, the human form. These paintings are 'Figurescapes'; in a sense 'Forbidden landscapes'.
Given that painting on a 2D surface is at least 40,000 years old, I have no wish other than to continue this tradition and not stray from the same practice and obsessions that Picasso too revered. Above all concerns of subject matter, the painted surface remains supreme. Work outside is exclusively drawings and pastel studies, for which I use oil pastels (the cheaper the better because I like the grains of un-ground pigment you sometimes get) and chinagraph pencils on silk coated paper which I get from a printer and make into ring-bound sketchbooks. This paper enables me to scrape back, for which I try to keep my right thumb nail specially sharpened (I found out recently that JMW Turner did the same, so nothing is new).
My next big exhibition is at The Plough Arts Centre, Torrington this coming November. “The Constructed Female” is a natural sequel to last year’s “The Structured Landscape”.
Exhibition Preview: (Friday 9 September 2016 at 7pm)
Venue: the Plough Arts Centre.
Copyright © 2016 Richard Meyer. All rights reserved.