 Often when looking for an entry point into a
new work the Old Masters provide something to react against. This is like secret
scaffolding. I am drawn by pieces that may have the rhetoric I am trying
to convey, for example the outstretched arms of the desperate on Gericault's
'The Raft of the Medusa'. Sometimes it may be how the paint moves on a canvas,
as in the swirl of flesh in Rubens' 'The Fall of the Damned'. Whether it
is a small scene or a style that is taken over, this is isolated and
cannibalised to create new works. The Old Master may unlock a past memory, act
as a mirror to life, and it is the reworking that becomes the very medium of
experience. Kerry Jameson. |
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