These works stem from observations of many coasts – not so much the sea itself, but the fringes of the shore, the coastlines, beaches, rock pools, pebbled edges and jetties of many seasides – recalling the baked haze of salty summer beach haunts and the faded glory of
Victorian promenades and pavilioned coastal towns.
Foreign seasides recently explored and places always known have both influenced the work for Coast Lines. In this series, Newcastle discerns familiar forms along the Brighton coast and the Hunter Valley finds parallel in the Sussex hinterland.
There is a dialogue with shape and a sense of linear navigation that informs the work in the exhibition.Glimpsed images and repeated motifs; linked strands of sea grasses, shadows on sandhills, sponges, cuttlefish, broken shells, wood, bones and dark pearl-like chains of seaweed, foaming shore edges and burnt charcoal from seaside bonfires.
At once, clear and soft, the coast offers the sun bleached colours of nature punctuated by bright refuse washed alongside. Scrubby border lines of demarcation and ragged shorelines; land’s beginning and land’s end. These works are about the forms and lines of our coastal margins.
|Postcard #4: Dover Cliffs (detail) acrylic, ink, oil and crayon on paper
19 x 28 cm (unframed)