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Arts Council doc

January 28, 2014

Mark Mooney M.F.A/Q.T.L.S/M.I.F.L

Practice Statement

My practice revolves around the reinterpretation of ancient poems, historical fact, myth and legend, from specific sites and communities into abstract form.

The artworks are constructed by detailed research of subject, as the aim is to retain the spirit and vigour of the original motif. As the research is sourced and assumptions reached, solid abstract conclusions can be made, which still retain part of the subjects original essence’.

Old castles, religious and industrial sites absorbed most of my concentration in the early years, as I researched my first prints and paintings. My first attempts to create a painting from any kind of research were crude and most didn’t make it.  Though, the artwork did start to improve, as my experiments based on subject research became techniques, giving me the multi-layered process I now employ. The first materials I used to create an abstract painting/print were a cocktail mix of cyanotype-print, screen-print and acrylic on canvas.

My pallet has progressed over time to incorporate many more materials, which include marble dust, paint pigment, gold leaf, lead, bitumen, string, and the found organic material from each location I’ve researched.  All the artwork’s unless specified are on canvas.

I’ve explored many different materials to strengthen my artwork but it was only when I introduce found objects into mix, collected from the site or locations that upped my game, as the found artefacts gave the artworks a poetic stance. The objects within the paintings help to reassemble the essence of the original site/location, while still enhancing the paintings overall characteristics. Reverberating the spirit of the subject matter if you like, but not its image. This I think gives the finished paintings a stronger sense of place as well as beauty.

My paintings can be decoded if you know where and how to look. This can give a more vivid account of the subject in question.  For-instance the first two paintings on this PDF ‘Nuredduna’ and ‘Song of Melisigeni’ have found organic material, money (25 Peseta and a selection of Euros) and a circle within they structures. The organic material is to give a sense of place the money movement from old to new. The circles within each painting are based on the massive dry-stone towers of the Bronze and Iron Age of the Balearic Islands, mainly Majorca and Minorca, c1000-300 BC.  It’s the oldest and most simple form talayot round tower built of large stone blocks. The Greeks called these Cyclopean dwellings as they assumed these were the habitats the legendary Cyclops. There are many more imbedded stories within each painting that clients and the public like to decipher. The main narrative for Nuredduna’ and ‘Song of Melisigeni’ came from the poem ‘Legacy of Greek Genius’. This classic poem was written by the cleric’ Miquel costa i Llobera’ (Pollenca, -1854 Palma-1922) who set most of the verse in the Talaiotic settlement of ‘Ses Paisses’ near Arta, Mallorca. The two paintings mentioned are in privet collections, one in the North East of England and the other in Mallorca, the collectors commissioned both.



Triptych 9ft by 6ft 8 inch: Paint Pigment, Tile Paint, Acrylic Paint, Bitumen Paint, Marble Dust,

Organic Material, Plaster, String. (Commissioned)

Song of Melisigen,  Mallorca,

Song of Melisigeni’

4ft by 4ft Paint Pigment, Tile Paint, Acrylic Paint, Bitumen Paint, Marble Dust, Organic Material,

Lead, Plaster, String. (Commissioned)

Ys.the last Pagan

‘Ys the last pagan’

10ft by 4ft Marble dust, paint pigment, bitumen, gold leaf and organic found material from holy Island,

Devon and Cornwall

Chasing Spring in Blue

‘Chasing Spring in Blue’

8ft by 8ft Marble dust, paint pigment, bitumen, gold leaf and organic found material

from holy Island.

(On permanent display at Newcastle University)

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