A report prepared for National Defence, by CRG Consulting in 2013, notes that many buildings dating from the British Imperial Era generally “feature projections such as parapets or end walls, chimneys, pilasters and brick corbelling. . . .a number of buildings still retain their original eaves troughs with decorative conductor heads and rainwater leaders.” It was undoubtedly these architectural features which captured my attention as I wandered through the dockyard’s haphazard medley of historic buildings years ago with my camera. The photos were mislaid for more than two decades. I found them again and began developing these paintings in 2018. The evolving group are an interesting mix–a juxtaposition of the visual coloratura inherent in nineteenth century architecture with reflections of the undercurrent of conflicting emotion arising in a non-serving voyeur. This duality of perspective is perhaps most evident in Stop/Arret.
Symbolic use of various design elements is evident in many of my paintings. In “Stop/Arret” I have used an overall red masking colour to instill a sense of unease. Ominous red coupled with transparent layering of architectural elements suggests the multi-faceted response dockyard scenes often evoked in me.