ANIMA MUNDI

A new collection of paintings.

The broad concept of the collection entitled ‘ANIMA MUNDI’ spotlights the intrinsic connection between all living things on the planet. This equitability of importance between all living organisms is underscored by challenging the usual hierarchy of foreground and background and giving equal significance in the compositions between figures, flora and fauna. The works are both allegorical and literal and simultaneously present a utopian and dystopian viewpoint. Self-portraits appear as ‘protector of the animals’ and environment, making up the majority of the canvas, but certain repeating themes are signifiers that in an otherwise halcyon landscape, all is not quite as it seems. The butterfly is a recurring motif representing the idea that initial small causes may ultimately have profound effects, such as the extensive impact of climate change. The camera phone panels are another recurring motif showing explicit warnings of the negative effects of human activities, unless there is a willingness to reconnect with the natural world.

'THE VALUE OF A STATISTICAL LIFE'

Acrylic on unstretched canvas. 95cm x 95cm. 2020

The value of a statistical life (VSL) is the local trade-off rate between fatality risk and money. When the trade-off values are derived from choices in market contexts the VSL serves as both a measure of the population's willingness to pay for risk reduction and the marginal cost of enhancing safety. During 9/11 the compensation received by families was dependent on the earning potential of the victim, which predictably adversely affected lower income groups. The number also varies from country to country and affects everything from health to climate policy. But who decides the value, and is the calculation morally just? Of course, human life is always the value spoken of in this context, but what of other, non-human lives, whose very existence is threatened by the harms caused by humans.

Painted during the corona virus lockdown, this contemplative portrait depicts a life’s work raising awareness about the plight of keystone species, climate change and habitat loss, issues so integral, that a self-portrait without them just wouldn’t be complete.

'THE DISAPPEARED'

Acrylic on canvas. 150cm x 100cm. 2019

In the classical tradition, triangular or pyramidal compositions were used because they created a sense of balance and harmony by arranging the figures into a stable overall geometric structure. Making reference to this, a sense of jeopardy is also introduced, by placing many elements on the outside of the structure. The creatures and the forest are semi abstract and disappearing, as is the female figure - a self portrait, referencing a connection between all ecosystems. The Monarch butterflies rising up from the forest fire are an allegory for the migration of the displaced. As with other works in this collection, the camera phone warns of human inflicted damage, this time showing a tiger skeleton as if holding a mirror up to the tiger walking below. A reflection to the sixth mass extinction.

'L'AMICA DEGLI ANIMALI'

Acrylic on canvas. 150cm x 100cm. 2019

An allegory of a lifelong commitment advocating for the environment and protection of endangered species. Influenced by Coelho’s fable about fulfilling one’s destiny on the journey of life, this painting features a self-portrait as ‘protector of the animals.’ As with other works in the collection ‘Anima Mundi’ recurring motifs including camera phone images of the human impact on the planet and butterflies representing Chaos Theory. The concept illuminates the interconnectedness of all living things.

'THE ALCHEMIST'

Oil on canvas. 85cm x 60cm. 2019

Influenced by Paulo Coelho’s fable about fulfilling one’s destiny on the journey of life. This painting is an allegory of the artist’s own journey, involving a lifelong commitment to advocating for the environment and the protection of endangered species.

'THE CRADLE OF CIVILIZATION'

Acrylic on canvas. 150cm x 100cm. 2020

Inspired by a love of Africa and recalling time spent living and travelling there ‘Fractured Earth’ relates to nature, our place within it and encroachment upon it. In this cradle of civilization, emphasis is placed on the uneasy juxtaposition of abundance and loss; evaluating the connection and current disconnect between humankind and the natural world. The impact of humanity is implicit, even though the human figure plays a minor role in the composition.

'A TERRIBLE BEAUTY, AN UNFATHOMABLE SPIRIT'

Acrylic on canvas. 90cm x 90cm. 2020

“The golden birds fall from the morning sun like blowing sparks that drop away and are extinguished in the dark.. And then there was the small matter of the snow leopard, whose terrible beauty is the very stuff of human longing. Its uncompromising yellow eyes, wired into the depths of its unfathomable spirit, gaze out from the cover of innumerable editions. It is, I think, the animal I would most like to be eaten by.“ Peter Matthiessen, The Snow Leopard. Much of “The Snow Leopard” is about the difference between the physical act of seeing something and the more profound, spiritual act of perceiving it, which requires escaping one’s ego-bound point of view in order to appreciate the unity of life. It is also a book about mortality. Matthiessen ruminated on the “great dying” of the Himalayan landscape. Even in the nineteen-seventies, Matthiessen believed that the wilderness he travelled through would probably disappear by the end of the century.

'LAST CHANCE TO SEE'

Acrylic on canvas. 50cm x 50cm. 2019

Oceans cover the majority of our planet, but little is known about their depths. The life forms surviving in these hostile environments are thought by some to be the beginnings of life on earth. Some creatures will be extinct before we know they exist. Marine creatures are suffering from pollution and are injured by plastic and other waste. This painting is an allegory of the artist’s lifelong commitment to advocating for the ocean environment.

'THE IMPACT OF THE HIGHLY IMPROBABLE'

Acrylic on unstretched canvas. 95cm x 95cm. 2020

Allegorical and literal, the work references Leda and the swan, however, as a topical reference to our current political, environmental and health situation, this depiction is of a black swan; signifying a random event that underlie our lives, characterized by their extreme rarity, their impact is huge and they're impossible to predict. They represent the impact of the highly improbable. Prior to this virus, relatively few people had heard of pangolins, shy creatures from the anteater family and their place in the illegal wildlife trade, yet they are one of the most trafficked mammals in Asia. Bear bile continues to be taken from Moon Bears (one of the medicines being advocated as treatment for critical coronavirus cases.) The self portrait appears as protector of the animals, ghostly and semi transparent; an allegory that our future is inherently bound up with our treatment of the earth’s natural resources. The camera phone shows the Coronavirus “The impact of the Highly Improbable”. The Butterfly represents Chaos theory which illustrates that small causes may have large effects in general and in weather specifically, ultimately resulting in the massive impact of climate change.

'PANDA ROSSO: ALLEGORY OF A CLASS SYSTEM'

Acrylic on unstretched canvas. 95cm x 95cm. 2020

Why are some individuals venerated and others so abused, even within the same species and culture? Think of the panda, a bear which has iconic status in China, represented as the very symbol of the country; yet the cruel and painful extraction of bear bile continues to be taken from other bears barbarically held captive in ‘crush cages’.

'MURDER MOST FOUL'

Acrylic, paint skins, text and transfers on unstretched canvas. 82cm x 64cm. 2020

Paint skins are used as a vehicle to introduce the graphic reality of the brutalisation suffered by these wild creatures. The immediate impression is joyful, but on close inspection it’s anything but.. These small details are difficult to look at even in black and white. They are not the first thing to be noticed, but once seen, they are difficult to forget.

“THIS WORLD IS INDEED A LIVING BEING ENDOWED WITH A SOUL AND INTELLIGENCE ... A SINGLE VISIBLE LIVING ENTITY CONTAINING ALL OTHER LIVING ENTITIES, WHICH BY THEIR NATURE ARE ALL RELATED.” PLATO