wood carving

The line which is Mark’s key element has an important role to play in the overall theatrical impact of his work. Firstly, he uses gestural lines that vary in strength and thickness to create movement and rhythm within the image. Secondly, these lines which energetically criss-cross the pictorial space have an open quality. As a result, the figure and the space that surrounds it interact in a fluid manner. This introduces a sense of animation within the image and, as in a performance, creates the effect of figures moving across space. Thirdly, his lines have a spontaneous quality that helps create a feel of immediacy to the actions depicted on the pictorial surface.

In this regard, one can say that Mark’s search for a fit between his subjects and technique has guided the direction of his art practice. It has made him move away from the smooth surface of acrylic painting to strongly textured and vividly coloured woodcarving and from 2019 onwards to bronze sculpture.

Apart from innovatively drawing with ink, his search for an appropriate technique also made him explore pyrography in 2017. Pyrography appeals to him for two reasons. Firstly, the process of scorching the wood with a tool to produce marks allows no space for alteration and therefore demands the artist’s complete presence in the moment of creation. Secondly, the line produced during this process has a raw and elemental quality that resonates with his focus on the body.

These works carved out of wood and crafted with the themes of folklore and rural life showcases Mark’s proficiency and commitment to elevate “local” to “global”.