Alan's new paintings,
the `Ellipsis Series ', testify to the continuing relevance of painting
and are a discerning response to the challenge of its apparent confines.
There is an immediate sense that the work is very contemporary in
form and impulse, containing a quietly assertive concern with what
can be eradicated from the paintings in the interests of allowing
a more subliminal solution to emerge. Alan writes of his fascination
for "...what is at the edge of our vision, sensed as well as seen...".
Often our glimpses of understanding are experienced at the periphery
of our senses and help to question and dispute initial appearances.
There is a feeling that the viewer is passing through the work and
that the activity contained by the painted panels is only part of
the exposure, providing residual evidence for continued activity beyond
the confines of the painting. The work mistrusts and questions aesthetic
appearances and is cautious of involvement with notions of lyrical
passages of paint, gestural marks, nuances of colour and specific
narrative. Instead a process is used which Alan describes as "...cleaning,
revealing, polishing, amending and re-constituting a surface." At
one level these can be seen as straightforward, practical tasks which
allow for recognition, response and decision -making but eliminate
superficial mannerisms; at another level they act as personal, poetic
metaphor. The result is that the work has been engaged to allow the
relationships of colour and surface to develop and claim their own
place in the paintings.
It may seem a paradox that initially the viewer could be drawn in
by strength of colour and surface; but time spent with the work gradually
unravels clues that this strength relates to the questions being asked
and the consequences of associated decisions. The work evokes a migratory
feel and a sense of the itinerant journey man leaving a significant
impact and then shifting on.