Safe is a mandala that I have been mulling over for some months. My first sketches for it were made in around June. The original idea was to explore using trees in place of the traditional four gates or doors in the mandala. I thought the idea of trees moving through the gates would be interesting.
It was only once I had finished it that the title Safe occurred to me. Those trees just seemed to embrace me in a happy space.
In the centre of Safe is the Yin-Yang symbol, the symbol of dual life forces. Feeling safe is not about living in a world that is all good and no bad. It is about being able to embrace that life has aspects of both. We feel safe only when we can embrace this duality.
The centre is embraced by the chocolatey-brown roots of the four trees.
The inner square is a paved area, a human space where nature is tamed and the world is shaped to our human needs. Outside is the grass and beyond the sky. The four corners of Safe represent the four elements Fire, Water, Earth and Wind, acknowledging that our safe human spaces are contained by and depend on the planet. Earth is a safe haven in the wildness of the universe.
Safe is bigger than my other mandalas, at 75cm x 75cm. It’s painted in acrylic paint on a gallery-wrapped canvas, finished with a matt acrylic varnish, and is ready to hang. The painting goes around the sides of the canvas as shown below.
Safe was completed back in November, before my exhibition, but I’m only now finding the time to write about it.
There is nothing quite so satisfying as glorious, rampant symmetry. The repetition and pattern are just so good. Here is a pure indulgence in pretty symmetry.
The pattern consists of 16 segments of circles, all meeting in the middle. It creates a large yellow flower with 16 petals at the outer level, but the intersections reveal a series of similar flowers, getting smaller and smaller towards the centre.
Following the pattern from the outside in, the colours shift from the lightest yellow through orange and red to the deepest almost-black violet in the centre. The petals are emphasised with gold, adding to the exuberant excess.
Satisfied is painted in acrylic on a 50cm x 50cm gallery-wrapped canvas and finished in gloss acrylic varnish. The image continues over the edge as shown below. It is signed on the back and can be hung in any direction.
Focus is about aligning your thoughts, actions and energy. You start out wide, but narrow down, getting closer and closer to a single point. So Focus is based on a spiral, moving inwards towards that focal point in the centre.
The alignment is represented by fish; first milling about aimlessly, but gradually turning until they all head in the same direction. Even in the background, the flowers align on the grass in sympathy.
I tried hanging Focus in different ways. Hung square, the beautiful sweep of the spiral is clearer, but the dominance of the pink area makes the painting look unbalanced to me. So I tried hanging it diagonally and rather liked the result.
Focus is painted in acrylic paint on a 50cm x 50cm gallery-wrapped canvas and is finished with matt acrylic varnish. The image continues over the edge as shown below. It is signed on the back and ready to hang.
Grief feels like having a hole punched through your chest, about where your heart used to be. It’s about emptyness, lack, someone missing.
My father died on the 4th of October and I am still trying to figure out how such a small man could have taken up so much space in the world, to leave such a big hole. Everywhere, there is this gap where he used to be. Nothing.
I stopped painting for a few weeks and when I started again this image of a life-buoy on a swirling sea came to mind. Those first few weeks felt like I was just clinging on, trying to keep my head above the dark water of depression that threatened to engulf me. Friends and random kind words, were that life-buoy.
There is something about those red stripes on the buoy that echo the violence of being separated, for ever.
But as I worked on this picture I struggled to depict the devastating nothingness, the hole that he has left. Until one morning, I woke up and cut an actual hole in the canvas. The lack of paint, the lack even of canvas, is the only way that I can convey absence.
Mandala No.17: Grief is painted in acrylic paint and finished in matt acrylic varnish on a 50 cm x 50 cm canvas. This mandala is signed on the back and could be hung in any orientation. I plan to frame it in such a way as to hold the canvas just off the wall, but I want the surface it is hung against to show through.
I wanted to play with those Reuleaux triangles again, and this mandala started out as an experiment to see how they fitted into the square of the canvas. There are four of them, one with a point in the middle of each side. It gave an intruiging result, with the appearance of layers of almost squares. I added lines that complemented the edges of the triangles and the painting evolved into an exploration of intersections.
Intersections are about choices: Do you follow the path you are on? Do you choose another one? Which one will you choose?
It’s a messy picture, full of energy with the lines on the outside moving busily around the picture, containing the outward energy in the centre. For me it echos the busyness of living in the city where one moves along set paths, but with constant intersections which invite you to take another path, to explore something new. I find as I look at the painting that my eyes follow the lines up to an intersection and then swoop off in another direction.
Mandala No.16: Intersect is painted in acrylic paint and finished in gloss acrylic varnish on a 50 cm x 50 cm gallery-wrapped canvas. The painting continues around the edge of the canvas as shown below. This mandala is signed on the back and could be hung in any direction.
For those of you who noticed that Mandala No.15 is missing, well spotted! It’s called Focus, and so is a bit more intense and taking longer to finish.
After working on Fear, I needed an antidote, so here is Relax, a comfortable composition reminiscent of the manicured grass, flowers, and water features of a well-run holiday resort. It’s deliberately clichéd because the familiar allows one to relax; nothing threatening here.
In the middle of the mandala, a floppy sunhat might hide me, sitting on a candy-striped beach towel. This mandala uses cool, relaxing shades of blue and green, with happy yellow and orange.
Surrounding me is a pool of blue water. The traditional four doors of the mandala have become four stepping-stones across the water. The pool sits on a lawn of green mowed in traditional stripes. Then there is a tangle of yellow and orange flowers that add some irregularity to the otherwise very structured elements.
Mandala No.14: Relax is painted in acrylic paint and finished in gloss acrylic varnish on a 50 cm x 50 cm gallery-wrapped canvas. The painting continues around the edge of the canvas as shown below. This mandala is signed on the back and could be hung in any direction.