The series began with 'Subterranean'. I found a log with an interesting pattern on it's cross-section, which can be seen in the circular design at the centre of the picture, only the dark and light areas were reversed. The paintwork covers an existing painting of a figure in a wicker chair, traces of which can still be seen at the bottom left. The giant black figure and the cavern in which it sits may have been influenced by Stephen Donaldson's books, the 'The Chronicles of Thomas Covenant'. In front is a structure that suggests bones or a ship. The figures in the foreground are influenced by Gustav Dore in his Dante illustrations. Note that one figure is making his escape - that's me getting away to paint this picture!

 

Unbeknown to me at the time of production, two other paintings preceded Subterranean - 'Prelude' and 'I go on'. Imagery from these pictures were used in the later Deluge paintings, sometimes consciously and sometimes unconsciously.

The circular theme appears in Prelude, and the monolithic structure to its left and the pyramid to its right are developed in 'I go on' and in the Deluge paintings. The figure at the top left is the artist holding up his paintbrush, stating that he won't ever give up painting. The text, 'I go on' in red, appeared unconscously at the bottom right of the picture.

The Deluge series builds on over ten years of Surreal painting, my natural style, with the freedom of the Figure & Dance paintings. My interest in Fantasy and Sci-fi literature, including H G Wells, has influenced all the Surreal and Deluge work. When the Surreal pictures became more and more precise, I needed to loosen up the brushwork and intruduce movement. The Deluge series is the result.

Subterranean also features in a story I wrote, 'Arkarma', as did the figure painting, 'Echoe'.

 

The circular theme at the centre was also the starting point of Deluge. The monalith and the pyramid have become more substantial, the monalith falling and the pyramid as if seen through broken glass. The bone-like structure in Subterranean has become a skeletal building or ship, and behind and through everything comes the deluge - of water or snow? Turner's 'Hannibal crossing the Alps has had an influence here. As with the whole series, Deluge is designed to be ambiguous; understanding the picture is intended to be as fluid as the picture is painted, and personal to the viewer.

Deluge 2 is a development of the bottom left corner of Deluge. The pyramid and shiplike structures have been combined in the building/ship structure on the left, while the monalith has been somewhat eroded. To its right a cascade of treasure pours from the destruction caused by the deluge of water.

The subsequent paintings become progressively more loosely associated with the Deluge paintings, though some connections can be seen.The pyramid, is retained in 'Auschwitz' albeit shrunk to a square on the right, and the deluge has given way to nuclear fallout.The title refers to the rail tracks leading into the camp.

 

The last of the series is 'Karma', which is so-called because it is calmer than the others. Deluge and destruction are more vaguely depicted, and the other structures are relegated to a small rectangle, smudges on the left and transparent squares. TO BE CONTINUED...