oil on canvas,
100cm x 100cm,
Iain White, 2016
This work could equally be called Foinne Bheinn re-imagined), but that misses the importance of pattern and process in this work. Landscape form and pattern; its geometry, or morphology appeal to both an aesthetic sensual instinct and to an urge to explain and understand. Here form is captured by contour lines and hill shading. However the work moves beyond the traditional application of these tools merely to describe form. Instead it uses them to create an image more rhythmic and suggestive of movement.
This suggestion hints at process, at the dynamics of landscape over a range of spatial and temporal scales. Whether it is the powerful tectonic forces which by translocating and foreshortening the Cambrio-Ordovician sediments along inclined thrust planes that gave Foinne Bheinn its the structure, or the erosive force of Quaternary ice which sculpted Foinne Bheinn and left it as an isolated mountain ridge, or the downslope movement of high level blockfields under periglacial conditions, or the fall of rocks on to the scree slopes below mountain crags, form and process are inextricably linked.