“London Portraits” was a group show in Munich featuring;
Nick Gentry, Andrew Salgado & George Morton-Clark, curated by Galerie Flash.

By Dr. Rolf Lauter

Nick Gentry – Andrew Salgado – George Morton-Clark

The SUBCONSCIOUS PAINTINGS by George Morton-Clark are radical abstractions of faces and human images, which mostly have a negative aura, a touch of irony and sadism, or an expression of fear and psychological abyss. Morton-Clark is in his painterly approaches to psychological representations of people, human beings, well-known personalities or cinema heroes in the search for a deeper reality, composed of dreamy pictures, anxiety-filled pictorial worlds, sociopsychic connections or even imaginary ideas. Painting as the psychogram of society, mirror of the tormented and tormenting psyche in man … Influences by Arnulf Rainer, Jean-Michel Basquiat and Street Painters show an argument with the “honesty of the street” and the realities hidden behind the visible reality ….

Statement by George…

“Ever since I was small I’ve looked at paintings like movies that will never reveal their endings – stories that will go on forever; And forever be written. To appreciate it, it’s all right. These are what bring the art to life. And the idea is the same. The power of an image lies in its near-infinitesimal interpretation. “ ” But painting for me is not a choice, it’s a necessity. An integral part of me as a human being. Ever since, I have wanted to create. Each painting is from the first to the last brush stroke. The start point can be something as simple as a color or image, after that the emotions gather and quickly at initial concept crystallises. Each piece falling into place like a puzzle. But the process is fluid: the first idea can change drastically as I paint. But rather than frustrating, I find these developments are the most exciting part of the creative process. Making mistakes leads you. This process accounts as much for style as for content and it’s why I tend not to sketch – I find I’m more creative while painting and better at manipulating the colors and image while ‘in the moment’. “ ” The color and the Fall of the paint. A slight difference in tone or an unplanned paint stroke can alter the image and start a whole new game. What can you do to me? This organic method – in the form of a free association of ideas, color and images – can at first seem to obscure the ‘meaning’ of the painting. But by letting my subconscious lead the creative process there is arguably. Something deeper, something that is closer to myself and the essence of artistic generation. “

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