work derives from an imaginative engagement with the act of drawing.
Images are developed freely through this process often with minimal
and, sometimes, no preplanning. I let the drawing itself guide my
actions, the structural shaping calling up associations as the work
proceeds. The images emerging from this process, crucially, remain
enigmatic;symbolic connections are then made pointing the sensibilities
towards deep rooted, dream- like states.
have for some time been very interested in exploring the borderland
between unconscious and conscious thought processes; the subliminal
imagery hovering on the threshold of daily experience: the unmediated
fantasies surrounding the knowledge we think we have of ourselves;
in short, the fragmented and then restructured aspects of the psyche.
Thesepsychological processes allow me to move freely between figurative
and non- figurative form as the work proceeds. For me, this method
of working sets up a poetic response tophenomena as it appears from
the hand - a magical state of engagement with the act of being ,
seeing and imagining.
painting and drawing psyche engages with matter, magically transforming
thought through the melting of boundaries between internal and external
phenomena - object andsubject are merged - there is no Cartesian
split - meaning is sought in the mysterium coniunctionis (
the divine fire
or energy generated through the friction between the materialand
coniunctionis: An alchemical term borrowed from the title of Carl
Jung's last major work on the subject (1956). I understand the term
to be a reference to that strangestate of being , all too rarely
experienced, when the ego self is overtaken by forces beyond that
sense of self; when experience touches on the numinous through poetic
vision- a mysterious connection to the infinite.
Parker, Nov 2000.