‘Greg Wood is concerned with the void above the earth. His visceral approach heightens the sense of insubstantiality, and the immaterial. Like all his works, painting shows no evidence of human habitation – we might be observing a primeval scene where humans have yet to evolve. In pining for a lost world, Wood evokes a kind of pre-loved world – a transitional state in which a new cosmology is being formed. While each of Wood’s works speaks of similar sensations – of loss, longing and transcendence – each is unique. The subtle, barely discernible shifts in the leaden, corrosive atmosphere remind us, of Constable, who declared that ‘No two days are alike, not even two hours; neither were there ever two leaves alike since the creation of the world’. In calling to mind these sentiments, Wood reinstates the magic in everyday moment. He seeks to express, as he says, ‘How it makes you feel when you’re in this void.’ His sublime is not one of terror or turmoil, but of a quiet, contemplative state in which the wonders of the empirical world open up to reveal the plaintive majesty that surrounds us, intoxicating us, if only we develop the nuance to discern it.’ – Simon Gregg, New Romantics, Darkness and Light in Australian Art, 2011.
‘The landscapes that I choose to paint are the ordinary places often in between destinations, the overlooked places. I am drawn to these landscapes when they are being engulfed and dominated by the elements. All my paintings are from actual places, but the paintings themselves become a combination of my memory, experience and documentation.’ – Greg Wood.