SELF'S OWN REGARD

I have a sense that for me it is only through an extreme subjectivity that I may approach an objective more universal commentary on the human condition. Therefore I have used my own body and facial expression to explore the self as internal narrative through gesture and movement conveying urgency of mood aspiration and despair in a series of disclosures and periods of significant rites of passage in order to show identity visually, each work being an epiphany in itself.

The tension created through narcissism and vanity in opposition with a deeper insight (for each figure was done from life many, many hours of looking in a mirror) interested me. If there seems to be little variation in a literal sense, for the subject is mostly myself, I believe there is variety in the expression of each ‘character’ through the effect of juxtaposition of gesture of movement - a world in fact of various characterization and disclosure - no figure is repeated - they all express a unique nuance of mood and awareness (this at least was the challenge).

I speak here primarily about the series of 14 large canvases entitled ‘As it is’, completed over a 10-year period. A major theme also of this series is that of bereavement, (the loss of my parents) and the ‘paradox’ of contraction and simultaneous expansion of self-identity as a result of loss. The 14 also refers obliquely to the 14 Stations of the Cross.

 I have also used the figure in landscape, exploring the sense of acceptance and exclusion of restorative value and yet loneliness upon the human subject in a very secluded landscape - to convey through bodily gesture and mood the relationship between myself and place: to use the body to convey its effect, not literally, but through metaphor and contrivance of posture and real space within the landscape. For this reason I have moved from the castle where I lived and had my studio in the past to now living in a high moorland part of Northumberland which now suits my purpose.

The same theme of using the ‘self’ to convey a more universal condition is present in the paintings all done in oil from life (no drawing), each might take a year to complete (on Dutch linen). The photo-collages use the drawings but develop the ideas and create distortions to the point of abstraction in order to further extend my themes of selfhood and inner narrative. It will be seen here that I have used two other subjects whose identity I have explored in not dissimilar ways over the years.

My inspiration is the self-portrait but not in its traditional usual form. I am interested in the portrait of the ‘Self’ or self’s narrative in a universal sense. The artist Egon Shiele was concerned with this, as was less overtly El Greco and Goya. Anthony Gormley with the use of his own body in sculpture has an element of it. It is more often seen in modern dance (ballet) and literature: Bunyan’s Pilgrim's Progress, Cervantes Don Quixote as well as Malone Dies (and all works) by Beckett and Camus’s The Outsider. It is the extension of this particular genre that concerns and is the main ‘character’ and inspiration of my work.

There are here several examples of my work but this is a very small fragment of the whole body of my work. If you felt able to take an interest in all, or any small part of my work I would be most grateful.

Nicholas Eddershaw (artist)