Painter Rosemary Joynt is a South African artist working full time from her studio in Gauteng.
The inherent parallels between the physical thing I am depicting in a painting and the process of depiction fascinate me. My method is intuitive, one of discovery, as I explore the cycles of building up and disintegration both in painting and in nature. The accumulation of layers of paint is reminiscent of the slow build-up of, for example, rocks and lichens. Similarly, the patterns produced by dissolving pigment are like the fractal patterns we see when land is eroded by wind and water over time. I am intrigued by the physical substance of oil paint. Although it dries, the paint retains its sense of flow and movement. Paint flows, erodes, bleeds, branches, drips and congeals, just like a living thing. The multiple layering of paint allows the process to be made visible and gives a sense of the accretion of thought and emotion centred on the painting during its making.
While cycles of creation and destruction are evident within nature, nature itself is in a precarious situation as a result of climate change. The future of the planet is decided seemingly at the whim of politically influential individuals, but the consequences are enduring and global. The titles of my paintings often allude to these concerns. “Perfect Storm” refers to a combination of destructive factors leading to a crisis. “Scene of Speculation” refers to notions of contemplation on the one hand and short-sighted opportunism for financial gain on the other. The series titled “Vestigial Spaces” makes reference to the small remaining parts that no longer function in a much larger and more coherent system.
The landscapes are always depicted without people, so that the landscape becomes the main subject in the painting, rather than being diminished to the role of passive scenery and backdrop for anthropocentric pursuits.
Image: Courtesy of artist