The Orchard

The Orchard is a figurative painting based on the Roman myth of Vertumnus and Pomona.

Vertumnus, the god of seasons, among others, disguises himself as an old woman and enters Pomona’s orchard whereupon he seduces her, which was a very Roman way of conducting oneself.

The orchard I painted takes the form of a room dedicated to the art of trees. Here, Vertumnus and Pomona are divided by a sculpture of a dead tree. Their posture also indicates a division. He is entirely focused on his phone, while she stares ahead, challenging the viewer to read her mind. So this painting is a metaphor for a relationship, not only between two people, but also with their environment.

There are formal considerations at play. A sense of symmetry is reinforced by the legs slanting away from the centre, which is dominated by the strong vertical of the tree. There is a connection between the figures and the paintings, which are stylistically different.

The chairs also differ. One is rectilinear while the other is curved. The man sits lower than the woman. Again, these stylistic devices suggest a division.

The paintings differ stylistically. One is impressionist, the other mimics stained-glass, a device I used in a digital print, All That We Strive For.

This is a good example of how I often use prints to develop ideas that are later translated into paintings.

The Orchard is yet another painting that underwent many changes. Because I now work at home, I live with my paintings night and day. This leads to constant reassessment, as well as dissatisfaction. Sometimes the changes are minimal, but more often the picture calls for major repainting. 

A number of artists have based paintings on the myth of Vertumnus and Pomona, Rubens among them, My interpretation depicts a modern marriage seen in the light of wealth and power. Viewers may see a state of unhappiness, aloofness, or indifference, and I make no attempt to sway their judgement in any particular direction.