References to freely distorted and part figures originate from images of 5th century Greco Roman damaged works. Major source material Kenneth Clark’s 1956 publication ‘The Nude’. This approach has allowed the exploration of that space between representation and abstraction. A conventional composition, geometry and anatomy together with expression result in a more powerful imagery.
More recent sculptured figures, including ‘The Reposed Academic Olympic’ (or 'Olympia' - Uli Nimptsch - Walker Art Gallery) and the more abstracted Falling Warrior (Henry Moore - Walker art Gallery) have continued the influence of classic imagery together with a more radical abstract approach.
The intentional jarring juxtaposition of the seemingly unrelated to convey an idea or sensation, in this example an almost hilarious hopelessness.
The Municipal Snake Pit - an idea based on the convergence of an apparently hopeless staircase with the American film noir ‘The Snake Pit’ (1948) whilst referencing David Balfour (‘Kidnapped’ Robert Louis Stephenson).
Ludicrous, clownish men reaching for unattainable women.
Eyes meet around a seemingly relaxed occasion, the pool, and convey suspicion and disapproval of each other and even the viewer.
In other pictures, only the watcher’s eyes take this role.
Despite the seemingly serious and more abstract nature of the work paradoxically much of the inspiration comes from references to fun and leisure – theatre, circus and poolside all provide opportunities for dancing, prancing and intrigue. Figures that leap out of pools and emerge mysteriously from under the beach. A part figure balancing precariously on the back of a sun bed inevitably witnessed by the watcher. There is spontaneity in these arresting yet playful and sometimes highly coloured images.