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.