2. Foinaven: Abstract Series
Lines on the Landscape,

acrylic on canvas,
91cm x 61cm,
Iain White, 2016
£345

Many artists attest in their work to the fact that deep meaning can be conveyed by images that, though derived from the sense of a place, are not faithful representations of a place.

In this apparently abstract work the crest of the Foinne Bhein (Foinaven) ridge is still discernible. Furthermore, part of the original research method employed to collect ecological information, namely randomly located transect lines are used as a device in the composition. These transect lines and the mountain ridge are simplified and abstracted. Furthermore, the execution of this piece also makes reference to the visual language of Piet Mondrian and the de Stijl movement, while the transect lines draw on the abstract works of Wilhelmina Barns-Graham.

So, in this work elements of both objective topographic reality and of the intellectual reality of research design are used as a starting point for an image that does not faithfully represent a place but rather captures a particular experience of that place, but generalised through the use of a universal recognised visual language.

Ref: 53

Lines on the Landscape,

acrylic on canvas,
91cm x 61cm,
Iain White, 2016
£345

Many artists attest in their work to the fact that deep meaning can be conveyed by images that, though derived from the sense of a place, are not faithful representations of a place.

In this apparently abstract work the crest of the Foinne Bhein (Foinaven) ridge is still discernible. Furthermore, part of the original research method employed to collect ecological information, namely randomly located transect lines are used as a device in the composition. These transect lines and the mountain ridge are simplified and abstracted. Furthermore, the execution of this piece also makes reference to the visual language of Piet Mondrian and the de Stijl movement, while the transect lines draw on the abstract works of Wilhelmina Barns-Graham.

So, in this work elements of both objective topographic reality and of the intellectual reality of research design are used as a starting point for an image that does not faithfully represent a place but rather captures a particular experience of that place, but generalised through the use of a universal recognised visual language.

Ref: 53