Original artwork description:

A tale of two towns.
It is difficult to untwine “The Bon Accord” from the period of time that encompassed the Covid 19 lockdown. Although the idea for the painting was conceived prior to the pandemic, the artwork was almost entirely painted during the lockdown. It has therefore been naturally influenced by the concerns, frustrations and madness that swirled around society at that point.
Despite their proximity, the two main characters are engaged in a seemingly distracted interaction; they both display a certain remoteness from each other. This is a somewhat awkward, if not comical, coming together.
The towns that make up the women’s heads, if you can overcome the absurdity, elaborately describe both the personality and background of each of them. This focus on their inner workings could well hint that they are lost in their own thoughts and distracted: a reason, perhaps, for the atmosphere of gentle unease.
The architecture that make up the towns is a compilation of styles from various locations. The contrast in styles is almost clumsy, however, there is a fluidity to each arrangement. Very much in the same way that a drifting imagination creates a scene.
Even though the painting leans heavily on the fantastical, there is a semblance of normality. The few town residents go about their lives in an understated way. Their routines appear uneventful. In addition, the room that contains the narrative has a well worn quality. This is no designer home.
This emphasis of normality is pivotal in the artwork. Intertwined with this reality, the surrealistic elements take on a new role: they describe a sensibility that someone can not be taken on face value. That their demeanor can be misleading and not a full insight into their mental make up. This psychological perspective is far more fascinating.

Materials used:

Oils

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