For the new body of work I chose to ‘look back to move forward’. To escape the bubble of an established paint vernacular I decided to head in the opposite direction to the finished piece of artwork and look at the very beginning of inspiration, then beyond, to the very spark within that inspiration. In this invisible world of a more primal notion I found symbol and simplicity at the core and color to be elemental rather than primary, secondary or tertiary. These ‘abstract-graphic’ paintings, much like the art of ancient cultures, have knowing cerebral intent and a naturalistic aesthetic but at their core they are utilitarian. I disregarded mindful ‘painterly-ness’ and its counterpart of egotistically-driven self-control and tried for somewhere in-between.
I began by steering clear of paint completely and placing fabric symbols hand-stitched into the canvas with an everyday but beautiful denim. This layering of graphic image as a backdrop for abstract language brings the mind into a multi-dimensional experience where known symbols merge with the not yet known; color suggestion and subtle constructions of intentionally manifested painting. This allows the viewer to experience several conscious planes simultaneously, much like all three lights of a traffic signal being lit at once, producing a question in the viewer, a due hesitancy, allowing for the minds aperture to open to a wider bandwidth and receive a more profound and rounded visual experience. The art will have a strong psychosomatic effect upon the viewer, exciting change at their physical and more subtle, energetic levels. The dialogue between the picture and its viewership is a powerful cocktail that some will consider snake oil and others a real deal.
— Philip Mount