I began to reflect on the King River as a source. Its river stone beds and shallow streams, sometimes bubbling around arrangements of boulders, sometimes disappearing into deep, dark, still waters, which had never been beautiful to me when growing up and I had never thought of its significance in our lives beyond its supply of water. The river as a source which had branded a primordial sense of dependency and intimacy within me over my half lifetime. The river that constantly flowed, had always flowed, will always flow. The river that bound us around itself and preserved us. I slowly connected to the idea of source and slowly felt that my own dependency on this source was being revealed. That I had felt a need for years now, to constantly return to this source. I began to connect with the notion of origin and that just as I sat on the banks of this river or swam or drank from it, all I could ever do was draw close to it, to be within in, return to it. I had to return to this river. I have always returned to the King River.
From, Returning to the river, Marco Corsini, 2016
Marco Corsini’s paintings feature the landscape and his immediate environment. Using shifts in viewpoint and perspective and often painted over extended periods of time, the works explore perception and the nature of painting as a recorder of experience rather than as a representative tool. Alongside a phenomenological interest in consciousness and experience, Corsini’s work also incorporates personal motifs such as the horse, indicating the artist’s own presence. The paintings explore perception and subjectivity, asking us to go beyond everyday discourse into deeper engagement with the nature of our existence.
After a few dead ends which I can’t bring myself to show you, the painting is beginning to get some momentum.
The figure has been overlaid with a baby and a wing, while another wing appears on the lower left side. I’m enjoying the freedom to layer images and ideas without feeling the need to resolve them yet. My technique is very painterly with enough medium to keep the paint flowing and sometimes even more medium to create a transparent glaze.
I like the juncture of the legs and the wing which reminds me of the myth of Icarus, with which I have been fascinated since I was a child.
Why the baby? I thought it would be quite powerful if there was a baby looking out at us at that point in the painting. I have also wanted to paint babies floating over water for a very long time but never did. I don’t know how it connects to the rest of the painting but I will find that out as I work the painting up and discover other connections.
I’ve continued to work up this painting but it is still early days. The full image is below. Very much enjoying a looser approach. Much of what I am doing is with glazes using a 50/50 stand oil, mineral spirits (solvent) mix.
The two works above are a result of my new year’s decision to play for a period of time. I have enjoyed working in a more painterly, looser manner as I try to let go of what I was working on last year (Odd Nerdrum inspired space and textures) and allowing myself to breath new ideas into the work. These works are painted from objects on a little table I set up in the studio. In this case a vase, seaweed fragment and then a figurine.
I like painting from life, it allows me to paint what I see and I tend to do this more naturally and fluidly than if I use a photographic image. I don’t find myself second guessing the photo for colour, distortions or how space ‘would’ have looked. I know I won’t always be able to work without a photo but it really helps if I don’t.
The image of the vase plays with space quite loosely, allowing the objects to sit in the composition in an irregular way that is geared towards how the objects are perceived in space. The objects float in and out of focus, or become more or less painterly dependant on how they sits together overall. I would like to bring these qualities into my existing work although when I look back, similar elements have been slipping into the work for a long time as you can see in the three works below. Perhaps then, I am reverting back to what has been an interest all along.