Hi there,
I hope October is off to a great start where you are. Its a cool grey day in Portland. I’m getting a feel for how the rainy season will be in my new space. Its cozy though a bit dim and I will be needing more lighting.
The images I’m sharing here and on Instagram for the last few weeks are going backwards in time through my catalog of paintings. This week, I’m sharing Milky Way Simulation, which was part of my show Habitats at Chefas Projects in 2022.
I see a few shells and cutaway views in this image, showing the interior of figures and landscape elements. I made this painting when we were starting to feel more normalcy during the pandemic, but it was still pretty fragile. Like we were hatching out of our shells and re-emerging into the world.
There’s a bit of dystopia in this image, but also a sense of freedom. Connection and calm seem possible on that island despite the fires burning.
Is it really an island, or just a higher elevation landform made of different material? It also reads as a mesa or a plateau. The whole scene is bathed in a fairly uniform purplish color like dusk and dawn.
I see the island as a place with higher self energy that the figure in the foreground could reach if they only turned toward it.
And the figure flying above may be an angelic spirit offering protection.
I was reading The Three Body Problem around the time I made this. This book series describes some of the most captivatingly surreal environments that I have ever read about.
One of these is another planet far away from Earth where there are multiple suns and its unpredictable how close they will be to the planet itself. When a sun gets too close, the inhabitants dehydrate and roll up (like fruit roll ups) and are stored in warehouses until its safe to rehydrate.
I was also inspired by the thought experiment of being in a simulation.
I can see elements of these influences combined with the more earthbound reality of the pandemic at that time as well, in addition to all of the “unprecedented times” themes. Climate change, political upheaval, technological reshaping of our experiences. And a dollop of potential for safety and spiritual evolution amidst your weary journey through a barren landscape.
I would love to hear your questions & comments.
Wishing you a relaxing and inspiring weekend,
Betsy
Hey Betsy! One thing I am semi-conscious of in my own work is the use and reuse of certain visual forms, patterns, marks, and motifs. I wondered, because you have what feels like such a distinct and established visual language min your work, how conscious you are of types of figures or the interior/exterior split like you mention in this work? Do you work with those in mind or are they intuitive elements for you?