Landscript

oil on board

4ft x 8ft

The title is a combination of manuscript and landscape. The basic structure of the painting is designed on a worn manuscript (fig.1): comparing words on a manuscript to fields on a landscape, the land’s script.

Great age is attributed to a worn manuscript as is the Penwith landscape and its ancient field systems.

 

The painting is of the land as seen from above, the fields are a jigsaw of many overlapping motifs, for example: bird (fig.2), fish (fig.3-4) and skull (fig.5) amongst others. 

“Like our fingerprints and the lines in our palms, the memory of the past remains imprinted on all land. As every fingerprint is unique, so is the pattern of every piece of land. Sometimes its pattern is created from natural history; sometimes it is a pattern imprinted through the continuity of human life. The record and story of our lives are written on the land. The land is thus a grand and noble book of history, and thus is as precious as precious can be. Let us call this the landscript.”

‚Äč

H-sang, Seung. 2008. ‘Landscript: The Inscription of Nature and Life on the Land’.

Youlhwadang Publishers.

Fig.1

Fig.2

Fig.3

Fig.4

Fig.5