Blaze Cyan

Blaze Cyan
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My work begins as an exploration and love of being present in the landscape. While walking and gathering sensory information, I also collect intuitively interesting pieces of wood and stone. Twisted knots in dead branches and tactile stones embedded with crystal or meandering veins. The nature of their textures and surfaces helps me to create the connection between visceral memory and my experience of the terrain. 

Blaze Cyan
Wellington Woods II, etching, 40 x 60 cm, 2017

My primary inspiration comes from ancient and veteran trees. Their individual anthropomorphic qualities evoke feelings of empathy and the uncanny. They inspire my re-enchantment with, and a re-imagining of the landscape. I have a fascination for that which must always remain a mystery, the things that can only be imagined but can never be seen or proven. We can never know what has been witnessed in the lifespan of an ancient tree, they are the silent observers of humanity.

Aged and decaying trees frequently appear almost dead, and it's this ambiguity between life and death that intrigues me and appears to transcend mortality. They seem to exist outside normal constraints or human timescales and are steeped in mystery... with implications of something hidden? They are the symbolic and romantic personalities of the forests and woodland.

Blaze Cyan
Greenwich II, woodcut on silk paper, 45 cm x 30 cm

Being grounded in the discipline of drawing I identify with natural materials like charcoal that have a direct representative relationship with the subject through the process of physical transformation. The mulling of organic pigments from vines into inks seems a fitting and reverential way to re-describe these majestic forms. The overwhelming detail serves to mesmerise both myself whilst making the work and the viewer after completion.

I am naturally drawn to black and white for its dramatic polarizing and defining effects. By taking a step away from realism, the visual incompleteness makes room for imagination. Monochrome creates an unnatural perfection, transforming that which could be grotesque to appear beautiful and fascinating.

Blaze Cyan
Wimbledon Common, charcoal and conte on paper and wood panel, 150 cm x 100 cm

'the artist, with each revelation of the truth, always keeps his enchanted gaze hanging on what still remains hidden...' Friedrich Nietzsche, The Birth of Tragedy, 1872. 

Mon travail commence comme une exploration : j’aime être présente au sein du paysage. En marchant, je recueille des informations sensitives, en collectant des morceaux de bois tordus qui intuitivement m’intéressent et des pierres aux veines sinueuses, mais le plus important... des souvenirs. La nature de leurs textures et du toucher de leurs surfaces m’aide à relier ma mémoire intime profonde à mon expérience du terrain.

Blaze Cyan
Cranbourne, graphite on paper, 45 cm x 35 cm

L'inspiration vient de la forêt et d’arbres anciens singuliers, dont les qualités anthropomorphiques créent un lien personnel, des sentiments d'empathie et réenchantent le paysage. Ils dépassent l’échelle des temps humains et l’idée de la mort. Ils sont soustraits à toutes les préoccupations humaines. Le mystère des forêts sombres nourrit la mémoire, mais garde la conscience enracinée dans le moment présent par la possibilité du danger. Une transposition de la nature au travers du filtre teint de noir de mon imagination.

Etant ancrée dans la discipline du dessin, je m'identifie à des matériaux naturels comme le fusain, qui par le processus de la transformation physique établissent une relation représentative directe avec le sujet. Le monochrome crée une perfection artificielle, une incomplétude visuelle, qui transforme ce qui pourrait être grotesque pour le faire paraître beau et fascinant.

« Ne choisissez qu’un seul maître : nature », Rembrandt Van Rjin

Blaze Cyan
Croft castle III, etching, 25 x 20 cm, 2017