Sunday, 26 May 2024

 Edge of Trigger

In the Singapore exhibition traditional 'Still Life' painting embraces the terms  ‘still and ‘life’ as natural opposites. French still life painting is called 'Nature Morte'', another term of opposition, Dead Nature.


My paintings explore these tensions. The subjects are rigid, poised, on the edge. Flowers stand impossibly straight, shells balanced on their tips. The initial references are to traditional Dutch Golden Age paintings which started the fascination with arranged objects. 


My work tries to find a psychological drama through the symbolism and balance of the elements. 


The precarious nature of the objects and the formal arrangements have their rigidity contrasted with small electric flashes of colourful impasto - these could represent a passing butterfly or a firefly in motion. 


Even more pointedly they are mini spectrums of light particles dissolving the objects and atmosphere. Photons and primary particles are the reality at a sub atomic level. The seeming solidity of a 'still life' is an illusion, firstly as a two-dimensional painting and secondly in that the objects themselves are in constant motion at an atomic scale. 


Nothing is what it seems to be.


Exhibition Olal'art Gallery, Singapore 2024


Golden Age I Oil on Canvas 60 x 120 cm 2024


Golden Age II Oil on Canvas 60 x 120 cm 2024


Still Life with Tropical Hibiscus  Oil on Canvas 60 x 120 cm 2024


Still Life with Iris and Chinese Vase  Oil on Canvas 60 x 120 cm 2024


Still Life with Cattleya Orchid  Oil on Canvas 60 x 120 cm 2024


Still Life with Yellow Rose  Oil on Canvas 60 x 120 cm 2024
 

Monday, 30 October 2023




                  'Butterfly Effect'  Oil on Canvas 120 cm x 120 cm



'Entropy' Oil on Canvas 120 cm x 120 cm

Butterfly Effect

It used to be thought that the events that changed the world were things like big bombs, maniac politicians, huge earthquakes, or vast population movements, but it has now been realized that this is a very old-fashioned view held by people totally out of touch with modern thought. The things that change the world, according to Chaos theory, are the tiny things. A butterfly flaps its wings in the Amazonian jungle, and subsequently a storm ravages half of Europe.”

Entropy
“Everything that comes together falls apart. Everything. The chair I’m sitting on. It was built, and so it will fall apart. I’m going to fall apart, probably before this chair. And you’re going to fall apart. The cells and organs and systems that make you—they came together, grew together, and so must fall apart. Entropy increases. Things fall apart.”


Dutch Still Life 1 Oil on Board30 x 30 cm


Dutch Still Life 2 Oil on Board 30 x 30 cm


                                            Detail

                                                      Dutch Still Life 3 Oil on Board 45 x 45 cm

 
Dutch Still Life 4 Oil on Board 60 x 60 cm
 

Thursday, 28 November 2019

Earthquake Series


A series based on 5 events, initially as a reaction to the Kaikoura Earthquake in New Zealand. Crumpled paper doubles as a contour map, silent upheavals in the deep cast only a mild threat at the surface, even as huge upwellings race ashore.



Khao Lak, Thailand 2004    Oil on Canvas 80 x 120cm

The smaller but increasingly popular resort area of Khao Lak some 80 km north of Phuket was hit far worse with 3,950 confirmed deaths, however, the death toll in Khao Lak may have exceeded 4,500. The severity of the situation in Khao Lak is probably explained by the fact, that unlike the high-rise hotels of Phuket, the village of Khao Lak only had low built bungalows. There was no warning of the first wave so people had no idea it was coming.


Fukushima, Japan 2016     Oil on Canvas 80 x 120cm

The earthquake moved Honshu (the main island of Japan) 2.4 m (8 ft) east, shifted the Earth on its axis by estimates of between 10 cm (4 in) and 25 cm (10 in), increased earth's rotational speed by 1.8 µs per day and generated infrasound waves detected in perturbations of the low-orbiting GOCE satellite. Initially, the earthquake caused sinking of part of Honshu's Pacific coast by up to roughly a metre, but after about three years, the coast rose back and kept on rising to exceed its original height.


Gorkha, Nepal 2015     Oil on Canvas 80 x 120cm

The risk of a large earthquake was well known beforehand. In 2013, in an interview with seismologist Vinod Kumar Gaur, The Hindu quoted him as saying, "Calculations show that there is sufficient accumulated energy now to produce an 8 magnitude earthquake. I cannot say when. It may not happen tomorrow, but it could possibly happen sometime this century, or wait longer to produce a much larger one." According to Brian Tucker, founder of a nonprofit organization devoted to reducing casualties from natural disasters, some government officials had expressed confidence that such an earthquake would not occur again. Tucker recounted a conversation he had had with a government official in the 1990s who said, "We don't have to worry about earthquakes anymore, because we already had an earthquake"; the previous earthquake to which he referred occurred in 1934.


Kaikoura, New Zealand  2016     Oil on Canvas 80 x 120cm

Cape Campbell, at the north-eastern tip of the South Island, moved to the north-northeast by more than two metres – putting it that much closer to the North Island – and rose almost one metre. Kaikoura moved to the northeast by nearly one metre, and rose seventy centimetres. The east coast of the North Island moved west by up to five centimetres, and the Wellington region moved two to six centimetres to the north. Christchurch moved two centimetres to the south. 


Christchurch, New Zealand  2011      Oil on Canvas 80 x 120cm

The epicentre was closer to Christchurch, and shallow at 5 kilometres (3 mi) underground, whereas the September quake was measured at 10 kilometres (6 mi) deep. The February earthquake occurred during lunchtime on a weekday when the CBD was busy, and many buildings were already weakened from the previous quakes. The peak ground acceleration (PGA) was extremely high, and simultaneous vertical and horizontal ground movement was "almost impossible" for buildings to survive intact.

Sunday, 23 March 2014

Blackboard Paintings

Sculpture Series – ‘ Shelf ’

The chalk drawing for the ‘Shelf’ works have a narrative element which explores another element of memory soon to diasappear from the lexicon – the blackboard. Half removed phrases, duster trails, a teachers personalized script.

The words and phrases are often oxymorons or paradoxes, and we can effectively recontextualize the objects by using them as elements of a visual vocabulary, where ‘meaning’ moves from the descriptive to the allegorical.

The act of annunciating the sentence as we move our eye from image to object seeks to prompt a re-evaluation of the initial aesthetic response, and to ponder the nature of the objects as both active grammatical elements, and as symbols. Images which have a certain passivity may achieve a new dynamic as they assume a role in the ‘theatre’ of the picture.


''Hibiscus'    Chalk and Oil on canvas   60 x 80 cm

 'Constant Variable'  Acrylic, Wood Shelf, Various Objects  on Canvas  80 X 60 cm
  'Because of Descartes'  Acrylic, Wood Shelf, Various Objects  on Canvas  60 X 80 cm
  'Dreaming Precisely'  Acrylic, Wood Shelf, Various Objects  on Canvas  60 X 80 cm
'Reverently Irreverent'  Acrylic, Wood Shelf, Various Objects  on Canvas  60 X 80 cm

Thursday, 6 December 2012

New Series - In a Dark Corner

In a Dark Corner – New Paintings by Martin Kane

This show will consist of a series of small canvasses and assemblages which draw on musty memories of childhood; of collecting and storing shells and butterflies, useful old rulers and bits of string, starfish, sand dollars, marbles and safety matches, and eggs blown clean. Surprisingly nostalgic recollections of these ‘precious’ things still lingers and brings back to me the oily smell of an dark old shed, where some of these things may still be secreted.

In their own way these paintings are also ‘Cabinets of Curiosity’ – the Wunderkammer of the 17th Century. Here a collector’s notion of Art was demonstrated in the assembly of man-made objects presented in the same glass case as diverse natural specimens of Science, and imbued, by association, with the lofty ideals of Intellect and Spirituality.

The main function of the cabinet was to provoke a sense of curiosity in the viewer.  In many ways the cabinet represented a world-view that valued the 'wonder' in an artefact much more than the need to analyse and classify. There was not yet a universal system of scientific classification and each collection sported its own unique organisational structure.


Sculpture Component – ‘ Shelf ’
The proto-types for the 'SHELF SERIES' will also have the narrative element accompanied by a 'vase' where a cutting or flower can be added. I will soon to cut holes in the shelf, so that some of the objects can be sunk into the shelf...to create an 'above' and below' effect.



‘Collecting’ Oil on Canvas  40 x 40cm
























‘Under Size’ Oil on Canvas  40 x 40cm



















‘Stuck’ Oil on Canvas  40 x 40cm




















‘Small Scape’ Oil on Canvas  40 x 40cm

















‘Sea Egg With Spoon’ Oil on Canvas  40 x 40cm


















‘Growing Arms’ Oil on Canvas  30 x 30cm















‘Rule of Thumb’ Oil on Canvas  30 x 30cm










































' Chiton Undressed’ Oil on Canvas  30 x 30cm
















‘Growing in the Dark’ Oil on Canvas  30 x 30cm