For the last twenty years I’ve been painting dam sites, electrical sub stations, and mines situated here on the West Coat of Tasmania – the pursuit of industrial fetish and a type of ‘beauty’. Most of the sites are remote and as such represent imaginary realms containing complicated interventions of technology into natural areas.
Geometry and random ‘afterness’ are at the heart of my painting of King Billy wood staves assembled again by helicopter lift after the dismantling of the historic Lake Margaret pipeline by teams of men and machines. The pictorial strategy is to establish a ‘buffer’ against the wasting away and the collapse of things.
Acrylic on canvas