Seeing this painting filled me with a sense of nostalgia for my parents and grandparents’ houses in the late sixties when style was based on simple lines, primary colours and “organic” angular shapes such as those found on tea services like Woolworth’s “Homemaker”, Hornsea’s “Bronte” and Broadhurst’s “Compass” and Britamic’s “Mexico” both designed by Kathy Winkle. There was also a style of coat hook that was “W” shaped and had 5 hangers each with a bright coloured ball to hang a coat on and every home seemed to have one.
This painting started out as a sharp acid yellow blending into green. The idea was to have yellow underneath, to scrape back into. Next I painted the white shapes making these vaguely oblong with a dark dot at the base. These shapes became sensors and each sensor is held in it’s own bucket of duck-egg blue that has become liquid and trickles down over the grey. The yellow colour pulled in the blue shade of the dot and I was pleased with the way the colours could be side by side, self-contained and yet complimenting each other.
Comments from Above and Beneath exhibition:
“This one is my very fave. I want to live here and not have any troubles.”
“Arrival” took a long time to finish. It began with some large brush strokes made with a surge of energy. I wanted vigour and mess and something untamed and free. Soon after came the single watery fluorescent yellow marks applied over the top of some previous marks. I liked these and they survived the obliteration of several subsequent layers. I finally arrived at the layer of creamy white, through which can be seen hazy shapes. These seem to be not yet formed but gathering themselves together as possibilities.