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COMMENTARY ON EXHIBITED WORKS

This commentary indicates how the exhibited works came to be, and why they have been presented as they have.
I began this module of study with a renewed commitment to depict ordinary places. The experience of creating a large collage of existing small paintings had convinced me that to do this I needed to change tack.

​Previous plein air techniques being inappropriate to my newly chosen motifs (views from a train, evening views...), I gathered, instead, source material in a variety of formats on my 'phone (photographs, panoramas - some deliberately distorted - and video). Stills from video clips proved the most interesting so, following some preparatory work, these became the source for two exhibited images ('View From a Train: Evening' and 'View From a Train: Pylon').
Picture
Picture
An aborted large painting and a further unsuccessful one led to dissatisfaction and a rethink of my approach. Experiments with the video clips themselves resulted in a focus on the individual frames which comprise them, and then to the multi-part presentation of twenty-four images, each separated by one second in time, in the painting 'View From a Train: 23 Seconds'. (More about this process can be found in the commentary on unselected works.)

To make sense, these small views must be shown as a single work.
 Given current restrictions, I mounted it in the only space available to me, namely my home, and so made possible an installation view. After deliberation, I also chose to exhibit the video clip from which this piece and the single image, 'View From a Train: Pylon', both derive. Placing the three presentations alongside each other - single image, multi-part image, moving image, in that order - creates a single work which prompts consideration of what each separately has to offer, and whether, together, they communicate more about the nature and significance of this anonymous place.
‹ Statement
Proposal ›
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EXHIBITION
SUPPORTING MATERIAL
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