These Landscapes deal with fictional locations from source images taken from computer games, but its from the use of paint in reproducing them that they suddenly become real. The spectator attaches properties of reality to otherwise unnatural locations.
Many of the scenes depicted are from post battlefield locations, often quite decrepit. The scenes are chosen for their eeriness and stillness, inherent in the subject matter. There is something very uneasy in these environments created for simulated violence.
The images here are also chosen for their relation to romanticised paintings touching on the historical weight of paintings within art. A number of other images were chosen and painted as smaller works but never fully completed as they held less significance to the concepts of reality I was trying to establish.
The paint is applied loosely to the board and brush marks are visible, relating to the tactile quality of the medium and allowing the scenes depicted in the paintings to exist by hinting at the supposed reality of the source image, via the historical context of painting in art.