This painting, The Mysteries, has elements I can’t quite explain. It could be that I’m delving into the world of complex relationships revolving around the mannequin as used by artists. When is the image we look at a stand-in for a real person? That’s a tricky question. Certainly I very much enjoyed the exhibition last year at the Fitzwilliam in Cambridge: Silent Partners – Artist and Mannequin from Function to Fetish.
Several years ago I painted Bone Scan. Cheryl Morgan used it for one of her Salon Futura covers. Now I’ve taken from it, the skull imagery, and adjusted it to be just what I needed as the final accent in my latest painting: Bone Clocks. Incidentally the skull is that of a little shrew.