This
unique attempt at rendering a forest is expressed through a strong sense
of feeling rather than descriptive visual representation. The mark making
in this painting is very gestural and highly responsive to paint, to the
point that we can feel its wetness and a sense of entanglement. The scraping
through to colour that was previously painted gives an effect of a penetrating
glow along with a whole feeling that there is something beyond this tangle.
There is a suggestion of waterfall through the slashing, tangled and dribbled
marks. The gestures that cross over the waterfall that are slashed into
the form seem to be an attempt to keep the waterfall enclosed between
two heavy textures. So although details are limited and the forms are
not necessarily pleasant, this painting is strongly expressive of a forest
which is very effectively communicated by texture. There is a magical
feel somewhat akin to the prince trying to rescue Sleeping Beauty through
the thorns. It is a forest that is dense and hostile, and incredibly difficult
to penetrate.
This
is a painting that has handled the environment in the compositional tradition
of 19th Century landscape artists. A variety of forms are presented, and
there is a pleasing continuity running from left to right. There is a
foreground that gives texture information where the paint has been scratched
through. All of the colours in this painting have been mixed with care,
using a range of greens through to brown. Possibly the one thing that
is missing is a strong use of pigment. Everything feels a little bit washed
out, although in part the effect of softness is appropriate to the style.
There is a very pleasant sense of being in the bush with water whisping
past us and the ferns. The painter is quite assured within the style and
treatment given.