Sam Lock creates his work on canvas using an organic process, every piece growing and changing through a sequence of intuitive actions. As well as the brush, Sam Lock uses blow-torches and electric-sanders on his oil paintings, wearing down their surfaces in a repeated process of building and destruction.
At its core, Sam Lock’s work conveys the passage of time; colours, movement, places that are half-recalled or uncertain. Sam Lock sees his paintings as each having a character, which he explores in the relationships between layers of media, the creation of tensions and interactions that evidence the intuitive processes he followed in their creation. The result has a very natural feel: deeply meditative and calming.
Sam Lock’s process has an immediacy of representing the moment in which it was created; each mark is a physical manifestation of Sam Lock’s thoughts and become a tangible history of that process of time in which the mind and body are one.
“These are part-formed, partial mindscapes that are part-imagined. Spaces where I have been, left something behind and found something else.” – Sam Lock
Sam Lock was born in London in 1973 and trained at Edinburgh University and Art College, graduating with an MA in Fine Art Painting and MA in History of Art in 1997. Sam Lock is represented by select galleries in Europe and the USA and his work continues to gain notoriety worldwide. During his studies at Art College, Sam Lock won a scholarship award which allowed him to travel to Rome and explore the connections between history, archaeology and the processes of painting. This had a profound impact on Sam Lock’s work and still informs his process today.
“Perhaps my work is characterised, most interestingly, as behaviour; exploring a process of making that reminds the viewer of visual interpretations while focussing on the act of looking and connecting. Each work is a situation – a set of positions, bearings and directions – that influences the ways in which we look or interpret. Underneath what is being said, something else is being said: a language of undercurrents to be felt and sensed rather than read, based on intrigues and whispers. These hooks slow down the way we look at paintings, extending the experience of perception, until looking becomes a different connection. We become conscious of our perception as a construct that we create or turn to.'” – Sam Lock