For a while, I wanted to use other water than tap water into my work: rain water or seawater, as a way of connecting my work deeper into the landscape. But I didn’t want that to result from a habit, but from a premeditated choice. The opportunity arose when working in Bodies of Water, I was evoking moments of fluctuation and rest at the local beach. And it came to my mind that when we’re doing something, even as simple as floating, there’s a large part of the memory of its event that is connected to where it happened; like a dominant flavour, in its colours, sounds, ambiance, that can’t really be separated from the place where that memory in anchored. Floating surrounded by nature, hearing the birds in the nearby woods and by the relationship I have established to land is special. So, I brought something even more from that place with its water.
Water and its place of recollection.
Salt water has some particular characteristics when used in painting - one of them being that I cannot guarantee the archival properties (longevity) of this piece.
Salt crystals on pigment ink.
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