Monument Valley: The Silent Witness
is an ongoing series of miniature oil paintings that asks viewers to slow down and look closely at a landscape often consumed too quickly. The work focuses on overlooked moments, inviting attention as a form of care.
Monument Valley: The Silent Witness
Oil on panel series
Monument Valley The Silent Witness is an ongoing body of work developed through sustained observation of one of the most photographed landscapes in the world, approached deliberately through moments that are often overlooked.
Rather than grand vistas, the work focuses on fragments, edges, pauses and quiet intervals within the landscape. These are painted as 2x3 inch miniature oil paintings, each one requiring slow, concentrated attention from both the maker and the viewer.
Process
The series is informed by direct experience of the landscape, photography, drawing, meditation and extended periods of looking.
Locations are chosen not for their recognisability but for their ability to hold something unresolved. Geological tension, colour shifts, scars in the land, traces of use.
The paintings are made slowly, often returning to the same motif across multiple works. This repetition is intentional. It mirrors how landscapes are understood not through one glance, but through repeated encounters.
About the Work
Each painting measures 2 x 3 inches and is housed within bespoke panels that group the works into small constellations. Seen from a distance they appear almost absent. Up close, they reward patience.
The work asks the viewer to move closer, slow down, and adjust their relationship to scale. What appears minimal at first becomes dense with information, colour and lived time.
This way of working resists speed, distraction and instant consumption. It proposes attention as an ethical act.
The land becomes not a spectacle but a witness. To time, to human presence, to erosion, to memory.
Recognition
Works from Monument Valley The Silent Witness have been:
• Award winner at the Paisley Art Institute 136th Annual Exhibition
• Selected for the second stage of the John Moores Painting Prize
• Developed alongside an expanding research and installation framework
The project remains unresolved and open, by design.
