The paintings and drawings of Mostyn Bramley-Moore initially may appear to be antiquated, arcane, maybe even primitive in the face of the slick, clinical, digital multi-media tide deadening our sentient capacities but they are solid anchors in the face of the flood and can bring us back to an aesthetic "ground zero." If there was ever a time for artists to reclaim a link to the ineffable qualities embodied in the manual act of painting, it is now. The commercial culture machine is incessantly grooming clones for the market and let me tell you, the product is the same; it is the Machiavellian triumph of homogeneity over cultural diversity. Mostyn Bramley-Moore is holding his own patch of ground in defence of the efficacy of imagination and the painting project.
It is evident with further observation that humour is involved in the interplay of elements but it is a fragile one verging on apprehension and disbelief! There is an enveloping sense of "nature" but at regular intervals people, buildings and machines attempt to insert/insinuate themselves into this environment but always tenuously as if repudiation or obliteration is just a breath away. A sense of impending "threat" seems to be waiting around the corner and this could be read as a commentary on the fragility of human existence in the face of nature's mighty forces. Decorative, beautiful, quirky? Whatever way you choose to receive these art works they are in fact anything but simple.
I admire Mostyn's persistence with his painting project, his devotion to developing an "aesthetic" rather than being railroaded by the politicising agenda of contemporary art. In this hybridised world art culture where all identity and difference is being churned up by capitalism it is heartening to see "pure" painting take such a majestic stand resisting subsumption into the "one."
Learn more about Mostyn Bramley-Moore here.