|
Using
imagery of moths and other insects, Karen Gray seeks
to express life's beauty and essential fragility within
her work. Gray's skillfully rendered oils go beyond
entomological examinations. She locates these creatures
in a space which transcends that of the conventional
still-life, in her attempts to reveal her subject's
metaphorical meanings.
Ideas
of growth, metamorphosis, death and finally decay
are evident in Gray's meditative depictions of insects.
These cyclical events affect all living things - from
the smallest creatures to human beings. By placing
the humble moth central to her imagery, Gray hints
at some of the universal aspects of existence, and
the unavoidable finality contained therein.
The concept of collecting and encasing insect specimens
derives from Victorian times and informs Gray's practice.
She conducts this research to create accurate representations
of the moths that populate her paintings, studying
their textural and anatomical features. Yet Gray's
work has none of the clinical coldness that this could
suggest. Painted with many rich, glowing glazes, Gray
depicts the atmospheric affects of light and cloud
as the context for her subjects.
Gray
uses chromatic warmth and subtle tonal shifts to imbue
her work with hazy, dreamlike quality which, while
beautiful, contains an element of darkness. This is
more tangibly realised in the torn wings that often
appear, highlighting processes of decay and disintegration.
The textural qualities of diaphanous wings juxtaposed
with furry bodies are emphasised through her tactile
application of paint. However it is the essence of
these frail yet resilient creatures which remain central
to the microcosms examined that, while not as easily
seen, are as rich and abiding as our own.
Text by Marguerite Brown
May, 2006
|