Perpetual Impermanence

oil on board

4ft x 8ft


A topographical landscape painting simultaneously viewed from above and at eye level. 


The narrative, as the title states, is a landscape in perpetual impermanence. Nature subsumes man’s effects upon the landscape: a subsumption which is in constant flux.

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Fig. 1


Fig. 2

The painting is layered, each with symbiotic reference to the one narrative.These layers are made up of historical effects on the landscape by man and nature.


The foundation layer is a homage to cave painting: man’s artistic foray onto the land. 

Fig.1 (location) and fig.2 (highlighted) show one of many barely visible hand prints. 

Other effects upon the landscape by man are shown by:


The ‘stone circle (viewed from above)’ layer in fig. 3

The ‘standing stones’ layer in fig. 4

The 'field systems’ layer in fig. 5

The ‘mine shafts in cross section’ layer in fig. 6

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Fig. 3

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Fig. 4


Fig. 6


Fig. 5


Fig. 7

The composition of the painting also incorporates a prone figure (see fig.7) indicating that Man as well as Man’s effect on the ecosystem both get lost in time. All of these painted layers are physically assimilated and unified, as functioned by the flora (fig.8) bound together in an echo to the landscape’s perpetual subsuming impermanence. Man’s footprints on the landscape and the flowers that cover them are impermanent and are ultimately absorbed by nature.


Fig. 8

Other oblique (artistic) references in the painting, by colour and form, are homages to Nicholson, Mondrian, Heron, Mackenzie, Hilton and Hepworth.