Writes for is written about in Turps Banana Magazine
links to above. Come down from below
uses landscape as a motif to express the idea of inner and outer
Studied Victorian paintings: painters were masters of techniques. puSH techniques. imaginative world view psychology of Carl Yung.. see a snake/ branch. paint a snake. it is more interesting
Above/ Below metaphor for interior/ exterior
self and the universe
crossover of inside and outside of the imagination
paintings roughly 5 by 6 feet
poetry illustrated by imagery
a la prima- wet on
wet between 2 eight-hour painting sessions
“The yearling”, 1.5m square- bring the landscape close so it can be brighter and more intensely painted.
Quirky things in paintings show how Christopher feels life is a mystery.
Paints in a way where his imagination prompts him when and what to paint “so there are some things I cannot explain- they’re jut there!
I- GEORGIA- SHOULD STUDY THE TURNER PAINTINGS WHICH I LOVE MORE. LIGHT. LANDSCAPE. BE IN IT.
Christopher’s biggest painting is 7 TIME 5 feet. not massive
The mingling of salt and fresh water…Above and.
People landing at magicA*L points, estuaries, interested in liminal places: night/ day/ estuaries/ ladders
Beatrice climbs a ladder at the end of Dante’s Inferno
ON A LEVEL JUST ABOVE: personal things exist
ON ONE LEVEL: universal imaginative subconscious exists
Forgotten caves, appreciation of the mysticism related to people being creative long time ago. Painting has a wisdom of its own.
Has he been travelling as inspiration for exotic paintings? He like to stay in his little realm without much explorative adventuring. he gets disappointed as life is not as exciting as his imagination.
Vacant minimally rich paintings showed he was emotionally withdrawn at the time of painting them. His works translated emotions to do with the numbing death of his father more clearly than words or other forms of expression were able to.
GEORGIA: BIRDS SWARM IN SKIES OF MY PAINTINGS.
2006- birth of Adam. He wanted to experiment with biblically inspired paintings- painted an Eden with a sense of universal femininity and masculinity.
sun and moon
and the union of the two
the height of alchemy
Aboriginal paintings- made in response to time spent in Australia
RAAK: a pattern, which is drawn/ created by a master, will glOW! (shaman,) The more energy put into the Raak correlates with the amount of energy (glowing power) which come out.
this RAAK idea, relate to Newtons law of energy in- energy out
metaphors between painterly painting and graphic marks
inspired by John Martin (I also: TATE BRITAIN NOVEMBER 2011)
The rules of physics don’t exist in the imagery in Christopher’s paintings..implies that ‘normal’ layer of life don’t apply to him
Red Riding hood= motif used to describe the transaction from innocent to knowledgeable. has used it to describe his pubescent daughters getting through the woods. (Always portrays the wolf as just a graphic sign- a mark on a tree perhaps.)
‘Oracles of ALVIAN’. Blakes writing.
The world is a magical place and consciousness is a mysterious gift. Experiments with painterly and compositional forms. Apparitions in paintings communicate C.W.’s knowing very little about anything- he says!
Agnostic, spiritually. (Angel pictures inspired by John Martin.) Large angel points out how small humans are in the world.
Through landscapes he is trying to sum up the turbulence of an interior experience- OF COURSE. THIS IS VERY WELL DESCRIBED. THIS IS NATURAL TO ME.
“My paintings are about my own ignorance, so i make mysterious pictures with wacky things in that nobody knows very much about.”
2008: Alchemy paintings. Red Stone…
Paint is AN ABSTRACT MATERIAL. THE IMAGINATION MAKES A PAINTING.
He has no fixed narratives.
‘THE POETS OCEAN’: thoughts and images prompted by the imagination.
ANIMA : s i m p l i c ity
The material: Athenians
Imagination: force of creativity, colours dividing the world in to two
‘The man who was a bear.’ / The man who became a bird.’
Images to do with transformation as CW became 50 years old… He is unsure what to say in his painting next so is restricting his creative movements to printmaking and collaging imagery with old works. He wants to really disconnect from the last painted works he made and make new fresh ones!
32 prints with a re-arrangable narrative. C.W. had decided to give curators the chance to make the 32 print piece of work their own, by allowing them to arrange the works into the narrative which tells the best story for them. Realms of ownership…of power.
It would be interesting to see the story presented differently in different places by different interpreters and storytellers.