They Are All Together Beyond the Rocks In the Sea
48” x 36”
Acrylic on canvas
During Patricia’s visit to the seaside town of Bathsheba, Barbados, she captured the essence of the local landscape and it’s iconic rock formations. The heavenly blue sky rests atop the mountains that envelop the ocean, vegetation, and structures of the location.
The influence of Pissarro can be seen in the geometric buildings resting among the impressionistic palm trees and their surroundings. While he was from St. Thomas, the geographical elements of Barbados are strikingly similar. Both islands reside in the Lesser Antilles region of the West Indies.
The houses represent the perfect nuclear family dream that has always eluded Patricia. There are two souls in the trees. The mother, father, and their three children live just beyond the rocks in the sea.
(Detail)
He Is Running Through the Trees
48” x 36”
Acrylic paint, charcoal, oil, and pencil on canvas
This is the first Caribbean seascape to appear in Patricia’s work. Emotive gestural marks are used to portray her villa’s view from Paradise Island, The Bahamas. The solid serenity of the sea sits in stark contrast to the highly energetic movements of the sky and foliage in which it rests. The shadows of the trees creep over the illuminated backdrop of the ocean and seem to signal impending doom.
A ballerina arises from the obscurity of the leaves. She holds her hands in fifth position as she floats in the heavenly blue atmosphere over the water. A foreboding figure suddenly emerges from the darkness of the jungle, attempting to drag her into the nothingness of the void.
(Detail)
Sold
He Is In the Plane and Things Are Not As They Appear
47” x 47”
Oil and Acrylic on Canvas
This is a landing scene from Patricia’s small airplane ride in Barbados. The docile landscape, open runway, and serene ocean lay in front of the calm blue sky. The viewer has taken the pilot’s seat and is looking out of the plane’s cockpit, getting ready for descent. At first glance everything seems perfectly in place for a successful landing. However when the viewer looks closer to the controls, a very different narrative emerges.
The airspeed indicator shows that the plane is going much too fast and is going to self-destruct. The artificial horizon gyroscope is completely brown, showing that the nose of the plane is pointing vertically towards the ground. The altimeter is pointed dangerously low.
While the artist appears to be in control and content, her mind’s thoughts often crash into chaos.
A man’s face overtakes the painting. His eyes are visors, his nose is the landing strip, while his mouth lies just below. Something bigger is always hiding.
(Detail)