Wax, linseed, natural earth pigment, and gesso on canvas & board 30x 30 cm (unframed)
Bespoke walnut baguette frame with spline corners 38.5 x 38.5 x 5.5 cm (framed)
The Crucem Sacro Terra painting was commissioned for an Exhibition in conjunction with Contemporary British Painting at Brentwood Cathedral in 2015, curated by Simon Carter.
Following the exhibition crucem I and the whole collection was acquired and now resides in the Komechak Collection, Chicago, USA.
This work is my artist’s prototype version, when working to commission it is natural for me to create more than one version as a contingency, although in this case both pieces turned out beautifully. Crucem II is a unique artwork.
Constructed with natural earth pigments, wax, gesso and layered grounds, the work explores sacred geometry, materiality and the relationship between spirit and matter. The circle traditionally symbolises the heavens, the square the earth; these elements converge alongside the triangle; referencing the Trinity, omniscience, omnipresence, omnipotence, and divine balance.
The fractured, fissured surface is integral to the work. The cracks emerge naturally through the drying process in the studio; a metaphor for human fragility, imperfection and endurance. The geometry alludes to Renaissance proportion, the Golden Section and Vitruvian ideals, whilst simultaneously disrupted by the unpredictability of material and process.
What continues to move me about this piece is the tension between formal geometry and the organic fissures that overrule it; the subtle free-form ruptures that refuse containment.
Through the ancient resonance of its earth materials and devotional process, the painting exists across temporal boundaries; ancient, immediate and timeless.
Wax, linseed, natural earth pigment, and gesso on canvas & board 30x 30 cm (unframed)
Bespoke walnut baguette frame with spline corners 38.5 x 38.5 x 5.5 cm (framed)
The Crucem Sacro Terra painting was commissioned for an Exhibition in conjunction with Contemporary British Painting at Brentwood Cathedral in 2015, curated by Simon Carter.
Following the exhibition crucem I and the whole collection was acquired and now resides in the Komechak Collection, Chicago, USA.
This work is my artist’s prototype version, when working to commission it is natural for me to create more than one version as a contingency, although in this case both pieces turned out beautifully. Crucem II is a unique artwork.
Constructed with natural earth pigments, wax, gesso and layered grounds, the work explores sacred geometry, materiality and the relationship between spirit and matter. The circle traditionally symbolises the heavens, the square the earth; these elements converge alongside the triangle; referencing the Trinity, omniscience, omnipresence, omnipotence, and divine balance.
The fractured, fissured surface is integral to the work. The cracks emerge naturally through the drying process in the studio; a metaphor for human fragility, imperfection and endurance. The geometry alludes to Renaissance proportion, the Golden Section and Vitruvian ideals, whilst simultaneously disrupted by the unpredictability of material and process.
What continues to move me about this piece is the tension between formal geometry and the organic fissures that overrule it; the subtle free-form ruptures that refuse containment.
Through the ancient resonance of its earth materials and devotional process, the painting exists across temporal boundaries; ancient, immediate and timeless.
