Also, within many theories of The Sublime, boundlessness and formlessness are crucial to its existence. I attempted to create these principles within my art by painting dark, moody, stormy landscapes on a very large scale – up to 3 metres wide. It was hoped that when stood in front of the painting, the size would consume the field of vision, creating a sense “boundlessness”.
On my fine art degree I found I was drawn to vast open stormy landscapes such as those in “tornado alley” in America. I studied “The Sublime” and looked into Edmund Burke’s theory - "terror is in all cases whatsoever . . . the ruling principle of the sublime".