Urban Landscapes have always been one of my favourite things. Since the early days in Vancouver spotting forgotten billboards above derelict warehouses in Chinatown from the once futuristic Sky Train. I’ve mentioned this before in the context of my billboard painting series, but it often transcends into the average mundane chaos of urban waste. Over the last few years, I’d intended to be more productive, but instead had progressed slowly over long drawn out periods or studio time. I decided that it was best that I pulled back ever so gently and moved carefully through a few projects rather than my usual breakneck speed in which I hammer out multiple pieces at once. I retained the multiple piece concept. It’s just how I work. But this time I went slow, producing only a handful of artworks over the last two years. What I learned from this change in process has been instrumental in my newest work, in which I focus more on the application of paint and my enjoyment in seeing ‘what happens when’.
With the completion of my most recent urban inspired pieces, “Coke, McDonalds, Death and Taxes” and “Night Zone Ghosts” featured here, I find myself in approaching new work with an incredible hunger to lay to waste the remains of what could have been a disappointing end to my painting career. You read that right. I’ve been re-energized with somewhat of a who-fucking-cares-anymore sensibility. And it’s all good. Positive vibes only kind of fuck-off. This urban landscape artwork allowed me to dive deep into the memory of the Guatemala City chaos that shook some refreshing little ideas out of me. Sprawling, populous neighbourhoods in a dense cityscape filled with advertising and storefront signage new and old and everywhere all at once. Buses packed tight, cars and trucks of all shapes and sizes and degrees of decay. Down every side street something new. Down every alley the possibility of fascination. Danger. Adventure. Excitement. Night Zone Ghosts is an urban painting I’ve done before (Look out for ‘Interzone‘, 2018). More than once I am sure. Different angles. Different side of the street. Closer. Further. It’s all there. Hundreds of Guatemala City photos taken often from the passenger seat of a taxi cab became future (then) and present tense (now) urban landscape reference images to last a lifetime.
Subject aside, it was the way in which I decided to loosen up my approach to painting with these paintings. More so, with the new work on the wall now in progress. I’m finding myself really engaged in looking at and thinking about what it’s all about. What it was about. Where it was and where it’s headed. I suppose if I never sold another painting again, I might threaten to quit. But I won’t likely quit. It’s not why I’m here.
However, it would be nice to get some of the paintings that have been haunting my studio for the last few years new homes where, if possible, someone else can stare at them endlessly wondering ‘what does this all mean anyway – what was he thinking’. I can’t know for sure, and I just wouldn’t say. Until then, but art from living artist and fuck that bed bath and beyond trash straight to hell.
