This is a painting that brings to mind the phrase : as above so below.

It is a painting about mirroring, synchronisation and harmony.

I would like to propose that harmony requires friction and frission, and is not a black and white concept, but a spectrum of subjective levels of appreciation.

We have a sky painted through earth tones, and a foreground, a floor, painted through sky tones. Nothing revolutionary, nothing controversial, if seen from a musical point of view, where reversals, inversions and odd combinations are essential to avoid that which is predictable. Predictability is stagnation and unhelpful for a journey of discovery.

In this painting, I had hoped for positioning of simple strokes and colour to be able to persuade the viewer that they are more than what they appear to be, not simply because they are fleshed out through detail or vigorous illustrative skill, but because of their inherent potential, and one’s intuitive sensitivity, one’s playfulness, one’s presence in the moment, to capture and to connect to a potential story. For instance, the red in the bottom left corner reminds me personally of Werner Herzog’s Into the Inferno. Certainly, it will not be clear to the viewer without this explanation, but I am intuitively quite certain that it provides a “volcanic” energy, and a sort of arterial force, pumping essentially into the rest of the composition.

The lone impression of a bird of prey on the right bottom half is barely complete, it is almost painted like a comma. I am almost compelled to meddle with it, but the painting itself tells me to “not be so banal”.

The mark making in the bottom right corner implies a rain dance, or a celebration of some kind to me, like a birth or a rebirth or a parting of ways.

This painting’s tension arises from its two cores, interdependent. There is the swirling low pressure zone of bodies and cloud above, and its storminess is dependent on the blue and rose lake below. The lake’s sweetness and crystalline quality is only possible against such a sky.