As a youngster growing up in the suburban 60’s my ultimate, secret fantasy was to be
a cave dweller. Just me, my leopard skin jumper, a campfire and some critters to keep
me company. Perhaps this long dormant fantasy has revealed itself in my recent
work. By utilizing glyphs and exploring the different aspects of home, I am realizing a
connection and continuum with the artists in the Lascaux caves and the Aborigines
who created the Songline paintings. We are both making images that will tell the story
of our experience in the most articulate way we can.
My cave paintings have two tributaries that merge in their primordial expression,
yet diverge in their focus; houses and glyphs. The circle/glyph as my ‘mark’, is an
ancient, primordial symbol that was possibly used to depict a journey or as a form
of measurement. If I existed in 15,000 BCE, perhaps I would have scraped or
smudged these images onto the walls of my abode.
For inspiration I have researched Etruscan tomb carvings and Chinese, Japanese
and Hebrew characters that mimic the door/home symbol. I see these letters as purely
poetic forms and have altered them into my own personal vocabulary of glyphs and
doorways. The result is a more complex, eroded mark than I have previously used,
yet one that remains fresh and alive.
The encaustic monotype is particularly suited for expressions of a humanistic
and poetic nature. Because it is possible to create multiple layers of nuanced color
and form, I believe it can articulate the human voice.