Painting Made for Messiaen’s ‘Quartet for the End of Time’.


CHJ 3a

Daniel Broncano, who’d invited me to work on the Messiaen project, had written to me about the prisoner-of-war camp in which the composer had been incarcerated while he wrote the piece. The music had been first performed in the camp by inmates, and so I began my initial work by expressively exploring the physical environment and conditions of the music’s making. I worked in black and white. But then Daniel wrote again, this time suggesting that I read the biblical texts Messiaen had been inspired by. He also explained why he thought I should work in colour. I stopped what I’d been doing, took some time to think through Daniel’s ideas. and started afresh.

I often find that an earlier piece of work can kick start a new process of creativity. On this occasion I looked to my print series on the theme of Sir Gawain and the Green Knight. I’d made a design of foliate scrolling and peacocks as an embrodery pattern for the caparison of Gawain’s horse, Gringolet. That became my starting point for Quartet for the End of Time.


The composition advanced quickly from there. I thought not so much in terms of solid colour, as building a picture from textures, transparencies and the prismatic effects sometimes see in the sheen of insects’ wings. I used maquettes of a winged horse and a cat-like beast to build the composition.


I’ve frequently used cats both wild and domesticated in my compositions, and this one became a hybrid, built from a lion, a tiger and a leopard. Its tail sprang leaves, blossom and fruit. Massed and layered textures swarmed over the composition. The beasts’ pelts writhed with mark-making and the background became an inky sea of gouache, the matt density a pleasing contrast to the polish of the heavily worked pencil rendering of flora and fauna. I played with the joints of the maquettes, emphasising them to suggest layers of making. There’s a sense of imminent dissolution, as though all the pieces are about to drift away. I like the borderlands where representation collides with the artificiality of a construct. Increasingly in my work it’s where I’m most comfortable.