Apocalypse

Meaghan Roberts

Joined May 2013

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Artist's Description

Milieu: Imaginative environments, a visual exploration of alternative worlds.

This painting is from a body of work which explored imaginative environments in oil paint. Pattern, colour and texture are the fundamental structures of the environment, whether microscopic or cosmic, and are emphasised through the plasticity of paint. Incorporated into a picturesque view the pattern and fluidity of the paint create a surreal environment straddling the representational and the sublime. The morphing and colliding of paint represents and imitates patterns in coral, sea sponge, shells and moss. In contrast they also bring up connotations to mines, oil spills and chemical runoffs.

The combination of pours and washes with rendered forms and heightened colour create a quality reminiscent of fantasy and science fiction by alluding to an alien or apocalyptic environment. The spontaneity of the paint creates an illusion of potential movement yet is ultimately contained by the frame and also by the control and manipulation by the human hand. The combination of pours and rendered forms within these picturesque views creates an illusion of space connecting the familiar with the other worldly. Shifts between a two dimensional surface and an illusionistic sense of depth explore a fantastical re-interpretation of the natural environment.

The paintings create a sense of awe and wonder with hints of the catastrophic. Toxic slime oozes from a break in the Earth or a veil of malevolent darkness slowly blankets a valley. The paintings offer a moment of perpetual change and constant flux captured in time.
Movement creates pattern and when captured in time, by fossilisation, drying or freezing, the pattern is caught in a constant state of flux. These patterns are often gestural with curvaceous forms alluding to a potential movement. As the paint dries it forms patterns that illustrate these occurrences in the natural environment.

As R.W. Emerson stated in his essay Nature (1836) “The beauty of nature re-forms itself in the mind, and not for barren contemplation, but for new creation.” In this case, a new creation describes a painterly re-interpretation of the natural environment.

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