Most of my paintings are based on design and pattern, rather than being freehand expressions of specific subjects. My inspirations come from manuscripts, from iron work and gold ornament, carved stones, tiles and ethnic designs from various sources. I am particularly interested in what is usually known as “Celtic”, based on stone crosses, metal work, and early manuscripts, dating from about the 7th-9th Century. I like the discipline of the Celtic design, the interlacing and the interwoven animals, all following a strict geometrically based pattern. The significant features of the manuscript designs are the interlacing or knotwork, the spiral ornament and the animal and human elements that are incorporated. The interlacing is like plaiting, always conforming to an ‘under-and-over’ rule. Sometimes the animals and humans are almost realistic and sometimes form part of the interlacing, with legs, bodies or necks distorted and drawn out to complete the pattern Even the limbs of the intertwined animals should be alternatively over and under, and the animals are often fitted into a box or frame. My early paintings were of this type, but then I allowed some of the animals to ‘escape’. Later still, I saw these ‘escapees’ as destroying or interrupting the order created by the design. The animals are freed from their restraints, and disturb the design, disrupting the overall symmetry. Some of my pictures contain ‘Babewyns’, which are found in illuminated manuscripts dating from about the 14th century. These are not natural animals, but are composite, or fantastic, and may be disruptive or menacing. My babewyns may be mischievous or threatening, reducing the natural order to chaos. The analogy of order opposed to chaos has always been symbolic of civilisation, perhaps particularly so today. My paintings are in gouache, with the design outlined in ink Pictures, prints, cards, bookmarks, are available, also some ‘instructional’ leaflets, explaining how the designs are constructed. |
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