Notre Dame

Views Vues Vedute [London Paris Venice]

Graham McKenzie

Gallery 5

6 - 24 April 2016

Opening Wednesday 6 April, 6.30-8pm

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This series of work is the result of my time spent in London, Paris and Venice during the northern summer of 2015. They explore the views, and my personal translations of these subjects depicted. The inspirations developed from the vistas and views, radiating from the waterways in each city.

I use the window as an element to establish the viewer as a committed observer in much the same manner to the experiences I was witnessing through my interpretations and responses to these subjects. The window is a static element as we pass by each scene. The window stands motionless, separating the observer from the actions beyond.

The window, by its very construction, limits our view due to the frame, but as we move so does the vision. It changes yet lacks the detail of the static view if we were standing still.

Visions in a landscape can make us less inhibited as we journey through a landscape. They can stimulate our mind to revisit emotions and ideas we carry in our sub-conscious, more freely than in the habitual daily grid.

I am also using the window to emphasise the notion of a glimpse. The vision through the window view is not structured in the same formal way, but rather it can provide the observer with an image that is caught, as if there is a movement crossing the path by the observer. The observer can initially catch only a minimal view but becomes attracted or inspired by that fleeting view of the forms, or the colours or the structure within, which often commands a second viewing.

The inspiration for the works in this series, from the different European countries, begins with the pathways I walked in the numerous locations I chose to explore. They represent structured elements as opposed to the natural ones in most of the previous series I have painted. They, like the window are now fixed. They do not change as such, but the natural elements of light, colour, form and relationships do. I worked at differing times of the days, maintaining a certain spontaneity in each work, through the compositional elements of light and shadow. There are no hidden meanings in any of the works, other than to provide the viewer with a challenge to their own personal responses and the memories, often carried in their minds.

To travel is to wander without direction, to an intension.