This painting in oil on canvas is typical of Alan Davie's work - filled with images of mythic and symbolic significance and like many instances of abstract art, the viewer is encouraged to make their own interpretation about their meaning. Alan never explains the meaning of the symbolism in his works, leaving the viewers to draw their own interpretation.
Alan Davie (1920 - 2014) was born in Grangemouth and trained at Edinburgh College of Art. Alan Davie is celebrated for being one of the first British artists after the Second World War to develop an expressive form of abstraction. The power and mystery of jazz, which Davie believed to be the creative medium of the 1940s, was a continual source in his search for ‘the mystery of life’.
Back in Britain during the early 1950s, a time when British artists had limited exposure to the latest painting from America, Davie earned the reputation of being the nearest thing in Britain to an American Abstract Expressionist. Yet Davie always maintained that he was a Scottish artist and it is interesting to consider his work in the context of the abstract decoration of his Celtic tradition rather than in that of modernist American painting. During the 1960s when his work started to gain critical and commercial success, Davie’s improvisatory paintings continued to harness his engagement with jazz, Zen Buddhism and prehistoric cultures as well as his pursuits of fast cars, gliding, scuba diving and sailing that as powerful extensions of the body brought him closer to nature.
During the later 1960s when a younger generation of British artists were renegotiating action painting and moving towards post-painterly abstraction, Davie’s art began to shift towards a postmodern revival of figuration, narrative and mythology. His paintings took on a new direction during the 1970s when the artist spent part of each year living and working on the Caribbean island of St. Lucia. The move brought about a fresh dialogue with the art of ancient cultures, enabling the artist to tap into cosmologies less understood in the western world, his lyrical brushwork disappearing altogether in favour of more formally controlled cornucopias of pictograms, symbols and text.
With thanks to https://www.tate.org.uk