Eroded surfaces harbour a multitude of colours, forms and textures – patina enriches the plain, provides vibrant visual character, yet often remains missed or unnoticed by many. I frequently find myself seeking out man-made, architectural surfaces that have been tuned and weathered by nature and neglect. My interest in the decaying built environment is currently satisfied through an exploration of Mediterranean architecture and cityscapes. I find that the playfulness of colour and quality of light both contrasts and compliments the overarching theme in all my work of ‘disintegration'. The results of my painting explorations are mainly non-figurative and also non-literal. These are works that not only celebrate architectural tradition, but also celebrate its inevitable decay – man-made beauty embellished by time.
My interest in decay transcends man-made, architectural objects: the natural phenomenon of the fossil has always been of great interest to me. After studying the harsh lines and man-made features of crumbling facades, I find it refreshing to produce work inspired by nature – organic, yet ordered – complicated, yet simple – symmetrical, textural, old, disintegrating. The links between my two main themes, architecture and fossils, run deeper than may initially be apparent.
The majority of my paintings are created on canvas using colour washes, overlain with areas of impasto; whilst many of the fossil drawings utilise subtle pen and ink techniques. The initial stage of many works is akin to action painting, taking controlled risks and sometimes just relying on chance.The physical process of working with poured washes, dripping and splashing is unpredictable at worst and revelatory at best. Textural quality in my work is of considerable significance and I like to experiment with different techniques and media. For example, to recreate surfaces such as stone, I exploit a variety of techniques and materials, such as sand, wax, and sgraffito. A commonly used compositional technique includes the juxtaposition of large, loose colour washed areas with tighter, realistic features and embellishment. Whatever the subject matter, I make certain aesthetic judgments by removing the superfluous, and focusing on what is important at the time, to varying degrees of abstraction.
I find it intensely satisfying to acknowledge the beauty of things that are commonplace and randomly discovered. My intention as an artist is to raise the viewer's appreciation of the intricacies and beauty of decay – capture its idiosyncrasies at a particular point in time, forever.
Jo Sheppard - 2008
