Genealogy: 1990

These images, based on X and Y chromosomes were the result of visual investigations into Sheffield University's Bio-medical Science  Departments. At this time I  was seeking different and more contemporary referents for my images and needed to move in the opposite direction of mythology and romanticism.The second image is an 'expressionistic blow-up' of the double helix within the know DNA model; its formal arrangement limits how this image may be received by an audience but for me, it was an attempt to render something 'invisible to the naked eye' as having lustre, texture and tangibility.As such it was a part of the larger quest in my image making for a link towards personal identity within the formalist world of painting narrative. I was reading Michel Foucault's Power/ Knowledge at this time, which confirmed my liking for 'historical knowlegde' as opposed to pschoanalytic theory. This had been evident in the work of Deleuze and Guattari in Anit-Oedipus. These works were concerned with the 'historical knowledge of struggles' that were eveident in our 'genealogy' This concept was brilliant from my perspective since it transcended 'gender' issues.
 
Then I read Victor Burgin who said in The End of Art Theory that 'historical' material was 'disallowed' in Fine Art practice! Realising that yet again all my imagery and work 'ethics' were once more out of kilter with the dominant themes in art at this time, despite the move into theoretical  main stream post-modernism. I was to return to the 'genealogy' theme later in 2006-2009 in Linga-Franca series which depicted all the ' journeys' I had engaged with in life and in art. Charles Harrison in Art and Language  had stated that this group of artists were not prepared to consider a work of art as" independent of its creator", or the "aesthetic as indepentent of the moral".
 
These were already my beliefs since my Marxist days, but I had not found much interest in such ideas. I was ready at this point to move on from from all these "movements" that were in essense pessimistic or that relied entirely on their formal "optical qualities". But I had other interests to discover: these were more concerned with Eastern versus Western 'philosophies' and travel  and life experience moved me into an expanded horizon.But I was determined to attempt to address some of the ethical/ecological issues I was concerned about before 'going East'. This was taken up in EVOLVING HABITS [1992].

Oil on Canvas: 150cmx 200cm
Oil on Canvas: 150cmx 200cm
Oil on Canvas: 150cmx 200cm