Material Basis

Choosing to incorporate the various elements that make up the canvas of these pieces was neither random nor accidental, nor was it the result of a structured thought process. Vital to my creativity was an unencumbered mindset, free enough to capture the slightest signal or indicator that could heighten my creative experience.

 First, let’s consider the intertwined loops of twine and how I incorporate them into my canvas. Using thread in some of my paintings is a way to stay connected to my past as a surgeon and to the integral role suture materials play in the work of such professionals. Structurally, however, the twine is manipulated to create undulating imagery, in which it contacts the canvas surface at specific points and floats above it at others. Compared to the series of works titled Oratorio – The Creation, the configuration of the twine is entirely different, and its appearance is reminiscent of the electrical cable characteristic of Christmas trees. There is something celebratory or jubilant about this series, a testament to the festive energy of that time of the year, hence its given name, One Day In Spring.

The backing of the canvas is somewhat unusual, as it is not the traditional cotton canvas support material that had defined the majority of my work up to this point. Its material is much closer to that of a tarpaulin, though thinner, and it remains impervious to liquid. The immediate implication of this material is that it inadvertently solved one of the challenges I encountered in my earlier works, titled Raw Emotions, regarding how applied paint pigments are absorbed and how the liquid component is dispersed.

Process

My ultimate goal is to transform this child’s chaotic drawing board into an emotionally meaningful, visually appealing piece of art that encourages viewers to share their unique interpretations.