Sublime Affliction



2012 - 2020
Whatever is in any sort terrible or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.
Edmund Burke







Innocence Lost



2020

Innocence Lost, 2020, Oil on linen,
172 x 94cm









Objects of Desire



2016
Sublimity comes from somewhere beyond, or deeper than immediate sensation - it cannot be literally visualised. Thus, figures in the Sublime Affliction series interact with mysterious overbearing entities, sources of sublime power, fear and anxiety.

Like other paintings, this artwork features the interior spaces of an art gallery and other artists work, in this case the Barcelona Museum of Contemporary Art (MACBA) and part of ‘Objects of Desire’ by Laurence Weiner.

Objects of Desire (After Laurence Weiner), 2016, Oil on linen,
196 x 196cm












Oil Painting Detail, Reclining figure, Objects of Desire





The Fall of Freewill



2018
‘The Fall of Freewill’ investigates our sense of freedom and the anxiety it produces.

When we consider our potential decisions, their possible outcomes stretch into the future as endless causal chains of events for which you are responsible. This causes us to recoil in terror, at the sublime power of infinite possibility, our persistent responsibility and ultimate freedom.

Confronted with this terror we either take a leap of faith with our decisions or fall into despair, usually by looking to relinquish our freedom and responsibility onto others, society and physical world.

 The Fall of Freewill, 2018, Oil on linen,
100 x 77cm












Untitled
(Reina Sofía, after Richard Serra)



2019
Just like church was once a place to find God’s sublime power, in a more secular society art allows us to face death, our own insignificance and freedom, arts ability to evoke something greater grants us access to the sublime.

The two figures represented in the painting ‘Untitled (Reina Sofía, after Richard Serra)’ are, in some-sense, portraits of visitors to art galleries seeking emotional responses to the sublime in secular society.

Untitled (Reina Sofía, After Richard Serra), 2019, Oil on linen,
100 x 73cm












Luke I 
Luke II



2014 - 2016
Paintings often feature loved ones.

Despite Art, the vastness of the universe and death being sources of sublime affliction, people themselves also embody and evoke sublimity. Friends and family are not forgotten for complexity and how they inspire respect and admiration.

Luke I,  2014, Oil on linen,
50 x 70cm













Luke II, (After Yves Klein),
2016, Oil on linen, 50 x 70cm











Brother & Sally



2012 
Love can unearth some of the most powerful feeling and emotions we know, it glues people together and drives purpose.

It inspires intimacy, warmth, tenderness.
Passion. It inspires obsession, wrath and violence.

At all levels of society love operates with unimaginable depth and mystery, its vastness sublime.  

Brother & Sally, 2012, Oil on linen
140 x 100cm












Callum I



2014 
The sublime reminds us of the unfathomable, immense and invisible.

Because the sublime makes us aware of the intensity of reality it causes a triumphant terror, our existential scream.


Callum I, 2014, Oil on linen,
100 x 67cm













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