This body of work is an evolving series born from an exploration of remembered landscapes, applying abstract and intuitive mark-making to evoke the essence of memory. Initially focused on capturing fleeting recollections through spontaneous gestures, the series has since expanded to delve into themes of mindfulness in creation, the notion of infinite universes within a single atom, and the profound interconnectedness of all things. 

As Anselm Kiefer observes, “We are minuscule compared to everything that is out there,” a perspective that encourages an exploration of humanity’s smallness in the face of eternity. Kiefer’s process, deeply intuitive yet layered with recurring motifs, informs the creative process used in Infinite Realms, where imagined worlds emerge through the interplay of memory and intuition. Similarly, John Wolseley’s sentiment, “I try to depict the world as an interconnected whole—not just what is seen, but the hidden forces that underpin everything,” grounds the work in a dialogue between the visible and the unseen.

Fred Williams, reflecting on his own practice, said, “The source of all my paintings is in something that I've seen … The impetus always comes from some notation I've made outside.” This observation underscores the relationship between the external world and the internal processes of memory and imagination that define Infinite Realms. Each painting within the series is instilled with this convergence, capturing not just the seen but the remembered and the felt.

Each painting within Infinite Realms acts as a portal to imagined landscapes where the unconscious mind weaves memory into tangible expressions; individual worlds fallen from the mind onto paper. This meditative and expansive process invites viewers to immerse themselves in microcosmic realms, offering a contemplative space to explore the infinite. Achieving a flow state during creation is essential; without it, the work remains incomplete.

Originating during the 2020 COVID-19 lockdown, the series has evolved into a prolific collection of distinct works, each unique and never to be repeated. No piece will be exhibited more than once across the trilogy of exhibitions planned for 2025 in Northern Tasmania. These exhibitions invite reflection, encouraging viewers to ponder the infinite possibilities of form, texture, and meaning at the intersection of memory, nature, and intuitive expression.

Imagine a trillion universes—not just worlds, but entire universes—encapsulated within each grain of sand in a desert; and within each universe, an infinity of others... Could it be that our entire universe is merely part of one atom on a single blade of grass?
– Stephen King

Emily-Rose Wills

2025