“The sky above the port was the colour of television, tuned to a dead channel” – Neuromancer by William Gibson. ‘Over Saturn’s Limb’ is a continuous work not stationed to one particular environment. The vision was birthed from a nebulous memory of my father explaining the strangeness and enigma of the skies above, particularly Saturn with its bejeweled rings. I was bewitched. His explanation and insight was one shrouded in mystery and myth, not secure in absolute truths. These dazzling theories of space lend themselves to the speculative thought of science fiction, the intoxicating notion of the real bleeding into the imagined. The fertility of this memory urged me to search the night skies while reinterpreting my surroundings. There is a wonderful breadth of space between you and sky, and the strangeness of it evokes potentialities and narrative possibilities. The environment is transformed before our eyes, a re-imagining of present settings into something of a stage. Characters lilt in the darkness of the domestic and the outdoors, light permeating and delineating them in the abyss. They exist in a quiet world; the pores in their skin remind me of the smattering of stars that blanket the night sky. Suspended figures interact with the light. They do not cross paths, but react and feel individually, connected by the same event. This is not a nod to solipsism, but to introspection and the dilation of time. There is no hostility here, nor histrionics. The objects that surround them swim with a calm erring on eeriness. The theme of evocation, the mythic or the speculative remains a firm fascination, and one I continue to explore and nurture, whether It be with human or inanimate characters. Those verisimilitudes pave way for visual suggestions, allowing the viewer to take from an image an evocation of things mythical, speculative or strange.
