Aberystwyth is etched on my being. It has influenced my connection to landscape and the elements through my childhood with family holidays, my young adult life whilst at university and I have returned since regularly.
My pleinair painting practice has roots in a souring relationship with mobile phone/device photography, digital imagery filtering and image effect/glitch application. I am aware this may be down to my own mis-application of the technology. When selecting a scene to paint I will focus in on these areas of frustration, usually looking through the screen first. It is only when I notice this conflict that I settle to paint/draw. Many things can trigger this but primarily it will be distant scenes or conflicts in light and shadow. Choosing to approximate what I see I have been working towards rendering a truth.
The view of Aberytwyth from the top of Constitution hill contains a dizzying amount of visual information. Due to the distance, capturing its essence photographically has always been a frustration of mine. On the initial sitting of this piece I focused in on a small frame and but also took into account surroundings in the wider view in an attempt to capture the Aberystwyth I have failed to do so through photography. Many ideas have been approached in this piece, all of which were underpinned by an intense few minutes of rapid mark making. This helped me define the paths taken by the observer. This work is steeped in memory, which has massively impacted my representation and its various points of focus.