An exhibition of paintings by Andy Rollo
Yūgen is a Japanese word pertaining to a profound awareness of the universe which evokes feelings that are inexplicably deep and too mysterious for words.
“My work focuses on the formal elements of visual language and the act of looking and responding to our world. Working in acrylics and oils I explore shape and colour juxtapositions, together with repetition, creating pieces that evoke pictorial realities of stability and instability.
The act of producing an art piece is wholly absorbed in the process of creating stability from an unstable situation. Only when the piece is ‘completed’ does there appear a resolution to the striving. I am endlessly searching for stability – responding to visual and personal experiences – the tenuous nature of reality as seen through psychology, geology etc and hopefully fixing something, that in life would only be appreciable for a moment.
The placement of shape and colour and the decision making involved is basically a demonstration of an understanding of magnetic forces – the push and pull of juxtapositions of hue – the opticality of colour and how colour behaves – their shifting relative weights and tensions. The range of hues, tones and shapes have a magnetic relationship of attraction or repulsion, which creates movement in one direction or another. I, as the painter, is acting like a composer of a symphony or a pop song. This means that sometimes, in order to understand the character of one hue and the next, one might have to transfer meaning from one to another. This is a difficult and organic process because to really discover what the colour and shapes want to do, one might have to go against what they at first appear to want to do, and then they start to resist and you have to use other forces to see what they are really feeling. One is dealing with something that is chronically volatile, like lava, except that there is the age old issue of illusion of space, weight, form and the physical reality of paint applied to a surface. The resultant paintings are comprised of increasing complex interconnected shapes, precariously balancing or pressing down upon other forms.
Landscape and in particular the geology) of the South West Coast of England (and light of Cornwall in particular) is an inspiration and forms the stimulus for initial sketches and recordings, but the work is not about landscape in the traditional sense. Instead, they are more like landscapes of the psyche – intuitive constructs that focus on creating irregular rhythms that enable the viewers eye to navigate around the surface plain of a square or rectangle. Other sources of inspiration come from contemporary classical music, aspects of chaos theory and the patterns and hidden rhythms of our lives; lives that are interconnected through road systems, flight patterns and electrical circuits.”