Liquid landscape (Headland)

A complex structure floats on an undulating colour field. This could be a description of any landscape painting where the built environment, human culture, intersects with the natural world. In Stephen Bush's 'Cumberland' (2010) an appropriated landscape supports a log cabin - centrally and ideally placed in a picturesque, alpine landscape. The cabin though, has no relationship to the ground plane, above which it hovers, while its shadows fall in the opposite direction to the buildings and mountains behind it. Bush fetishizes paint, exploring its plasticity and exploiting the viewer's gullibility (as do I). My work realises Bush's aesthetic in three dimensions, extending it to meet with the act of looking, and asks the viewer to merge with the work of art.