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STATEMENTS FROM AND INFORMATION ABOUT STUCKIST ARTISTS
Eamon who is from Folkestone in Kent travelled a great deal during his childhood, firstly to the Middle & Far East, India & Africa and later to Germany where he lived for four years. In the process attending something in the order of fourteen schools! On his Fathers' retirement from the Army the family settled in Shornecliffe near Folkestone, Kent and here Eamon went to the local art school, in 1968, however, he left for London. His first port-of-call was East London and so impressed was he by the novelty of a settled lifestyle, that he's been there ever since! As he says, 'Travelling may broaden the mind but staying-put gives it depth'.
Since leaving College Eamon, a great believer in getting stuck-in, has continued to paint and has taken on a variety of jobs to aid in this. These include; building-site worker, postman, deck-hand & helmsman, dustman, market stall-holder, self-employed designer and part-time lecturer to mention but a few. Currently in his first serious 'day job', he divides his time between working in his studio and being an Associate Lecturer in charge of a small Art & Design department. Along the way Eamon has developed a long-standing interest in Buddhism and meditation practices in particular. As his other interests he cites Tai-chi, Cajun music and dancing.
Eamon says that his aim is to create paintings which, while appealing directly to our innate aesthetic sensibilities, offer something new and stimulating on each return encounter. His involvement in visual art lies in his interest in the beautiful, the transcendental and the universal. For him, the late twentieth centuries' obsession with the sublime, pathos and individual torment have little or nothing left to say, being more properly, he maintains, the substance of 'B' movies and cheap ads. Into this latter category he also places conceptual and existential narratives so often found in what currently passes for 'Brit-Art'.
The paintings, particularly the earlier ones, owe much to the influence of the Cubism and that giant of twentieth century painting, Picasso. Cubism which is fundamentally representational and referential is, paradoxicaly, widely regarded as the parent of all abstract art forms. With Cubism, Picasso and his co-workers had found a coherant repy to the destabilising challenge which the advent of photography posed (and still poses) to representational painting. Sadly the initial thrust of a Cubism halted as did so many other things with the advent of war in 1914 less than a decade after it had first appeared. In Eamons' paintiings, however, we see the work of an artist who unflinchingly takes up this challenge once again. Whilst Picassos' powerful Cubist pieces are almost always monochromes Eamons' work is as much concerned with the lyrical use of colour as it is with line and tone. He is also intrigued, like Juan Gris, with the application of the Cubistic dynamic to larger vistas such as town & landscapes. Eamon, who acknowledges his debt to Picasso, prefers his paintings to be seen as Multi-Veiwpoint as his subjects range far beyond still-lifes comprised of rectilinear man-made objects which originally gave Cubism its name.
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