Painting | Drawing
Visibility, or the lack of it, is key to Wood’s ongoing engagement with landscape. Rather than a descriptive outline of the places Wood frequents, he encourages a more ambiguous reading and seeks an emotional response to his paintings. Hence, the landscape is purposely obscured and often further abstracted by mist suspended somewhere between imagination and location.
Influenced by growing up amongst a family of artists, Greg Wood has been an active landscape painter since the mid-90s. This has enabled him to live for a period in Tasmania, travel to Vietnam and Japan and undertake a residency in Brussels. Woods work has been included in several important Australian award exhibitions including the John Glover, Tattersalls Prize, and the Fleurieu Peninsula Biennale Art Prize, and the Kate Derum Award. Wood has an extensive exhibition history including curated and solo exhibitions at Australian Galleries (Melbourne), Poimena Gallery (Launceston), West Space (Melbourne), James Makin Gallery (Melbourne) and Stockroom (Kyneton) and his recent artist-in-residence in Brussels culminated in an exhibition at Superdeals, (Brussels). Wood’s work is part of important private and public collections, including the Joyce Nissan and Peter Mac Art Collections.
Greg Wood’s paintings are of landscapes. Landscapes that are neither observed nor recalled in detail, and are instead suspended somewhere between imagination and location. With its attenuation of detail this work becomes both a composition and transient of space, creating an evocative condensation of form and thought. This form of landscape presents a medium for self-reflection, with just enough ephemeral detail to elicit certain elements of identification, and evoke our memories and experiences.
Strettle Wetlands 1445 x 2160, 2012, Charcoal on linen