Genome
Number 6 in my tree of life series of paintings, exploring trees as symbols of interdependence and relatedness. In some of these works the tree is a symbol for relatedness. For example, the common genetic heritage of life on earth is the theme of Tree of Life Number 6. The role of trees as ecological regulators, maintaining the interconnected fabric of life, is explored. The effects of ecological stresses that threaten that fabric are also examined.
Tree of Life 6 uses a loose double helical motif, symbolizing DNA and our common biochemical heritage. The extruded double helical strands converge to make the tree trunk and branches. The DNA double helix has become a pervasive contemporary symbol of the progress of medical technology, and for current concepts of human biochemical destiny. In contrast the tree is an ancient and pervasive symbol for the fabric of life. Combining these two symbols creates a dynamic tension between our modern worldview and older ideas.
The style of Tree of Life 6 is intensely textural. The flatter areas of paint in the background were created using layers of poured and swirled transparent – translucent paint and media. this creates a depth to the paint film and a feeling of colors encased in resinous film. Texture gels were used to create the basic tree shape, which was finished with layers of extruded ridged threads of tinted transparent medium. Glass lenses and mosaic glass pieces are embedded in the tree and adhered to parts of the background. These glass pieces make the work more “active” and responsive to light.
Tree of Life 6 uses a loose double helical motif, symbolizing DNA and our common biochemical heritage. The extruded double helical strands converge to make the tree trunk and branches. The DNA double helix has become a pervasive contemporary symbol of the progress of medical technology, and for current concepts of human biochemical destiny. In contrast the tree is an ancient and pervasive symbol for the fabric of life. Combining these two symbols creates a dynamic tension between our modern worldview and older ideas.
The style of Tree of Life 6 is intensely textural. The flatter areas of paint in the background were created using layers of poured and swirled transparent – translucent paint and media. this creates a depth to the paint film and a feeling of colors encased in resinous film. Texture gels were used to create the basic tree shape, which was finished with layers of extruded ridged threads of tinted transparent medium. Glass lenses and mosaic glass pieces are embedded in the tree and adhered to parts of the background. These glass pieces make the work more “active” and responsive to light.
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