Painting & Print

Painting

This art is borne out of an interest in the semiotics of the everyday. From the roadsigns which alert us to the vulnerable bookends of life (children/elderly crossing), to health & safety cautionary signs, they warn against a failure to heed their counsel.

The abstract image of the Union flag (Repatriated) is distorted by cropping. It is embedded with newspaper clippings of war and loss. Please see my blog for more information on this piece.

‘The Dance of the Material Notion and the Engendered Mental Concept’ (2013)

Exhibition - Suffolk One, Ipswich — ‘The Dance of the Material Notion and the Engendered Mental Concept’ (2013)

'Uncertainty of Time (binary representation)' JL (2015)

Print

As a member of Gainsborough’s House Print Workshop, short printing courses have enabled me to tap into my artistic passions, giving me an enthusiasm for learning which was further fuelled by becoming an art student. It helped me to meet up with like minded artists and create work using techniques which were new to me yet not totally baffling, since as an engineer, heavy plant and process equipment was very familiar.

Following my visit the the British Museum to handle Goya’s magnum opus The Disaster of War folio I was inspired to create a couple of prints based on Goya’s Great Deeds! against the dead! print.

Erased plate 39 (newspaper) (2016) JL

Drying erased plate 39 (2016) JL

Another day, plate 39 (drawing) (2016) JL

Erased plate 39 (drawing) (2016) JL

Erased plate 39 #2 (detail) (2016) JL

Erased plate 39 (pastel) (2016) JL

Erased plate 39 (tissue) (2016) JL

Erased plate 39 #1 (detail) (2016) JL

The following four acid etchings consist of a personal ‘Rake’s Progress’ of sorts, whilst all of the etchings in this series reference past masters (click on an image for details):

‘Impressions of “La Maja”‘ JL (2013)

‘A Reflection of “Duelo a Garrotazos”’ JL (2013)

‘Nachträglichkeit with Dr. Gachet & Münch’ JL (2013)

‘Ceci N’est Pas un Bureau’ JL (2013)

‘Re-Mastered – 1917-89’ (left) JL (2015)

‘Re-Mastered – 1819-1823’ (center) JL (2015)

‘Re-Mastered – 1937’ (right) JL (2015)

This collection of prints refers to the draw of the coast and it’s quiet power (click on an image for details):

‘Here Today: Orford Ness Beacon’ JL (2012)

‘Time and Tide: Orford Ness’ JL (2013)

‘Look out IV’ JL (2013)

‘Twin Berth’ JL (2012)

‘Cley Windmill JL (2015)

‘Wells Beach Huts’ JL (2015)

These prints refer to the ongoing situation in Israel (click on an image for details):

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‘Orthodox Disengagement’ JL (2013)

‘Heterodox Disengagement’ JL (2013)

‘Green Line (red)’ JL (2013)

‘Two State co-existence’ JL (2013)

These three prints refer to the British forces operation in Afghanistan, the marks of the boot prints represent a tally of the fallen whilst the box justified print details a pseudo computer program lists the roll call of the dead servicemen and women (click on an image for details):

‘Remembering Afghanistan’ JL (2013)

‘Boots on the ground’ JL (2013)

‘Digital Warfare’ JL (2013)

These two prints are part of a collaboration; the first was inspired by a six word essay written by Trudy Ellis: – ‘He reaches out for his mother’s hand’.

The second is a woodcut made unique by the addition of gold-leaf. It is inspired by Averil Green’s art therapy images and Ivy Jones’ poetry. The rose stem traces the Suffolk coastline and the flowers highlight the Hospice sites. The work draws on the semiotic theories of Claude Levi-Strauss, Jacques Derrida, Ferdinand de Saussure and Roland Barthes, specifically the concept of binary oppositions, transcendence, reception theory and gestalt psychology (click on an image to zoom):