Because of the bright, poppy monochrome colouring and use of opaque dots, our gallery coined the phrase “Pop Art Mountains”. Pop Art icon Andy Warhol would use images of celebrities and put them in a picture, idealizing, romanticizing and de-contextualizing them and their work, only leaving their larger-than life image present for the consumer to consume. Along with artists like Lichtenstein, Warhol would use bright colours, repetition and textile-like patterning. David is in a sense doing this to his mountains. By taking the mountain out of the context of landscape he is creating a monument to this specific mountain as if there were something special about it that elevates it above all the other mountains.
Pirrie further de-contextualizes the mountain by reinforcing the notion that this painting is not in any way meant to be illusory, but is meant to represent a mountain that David himself has climbed, pointing to its existence as a real mountain, not simply a picture of one. He draws attention to the point at which he cut the mountain away from its surroundings, levitating it like a 3 dimensional object in a computer program. At this hard line paint drips down the canvas, a self-reflexive technique, reminding the viewer of the hand-made aspect of representational painting. Furthermore, the drips refer back to the erosion process, the aspect of slow change over the life of the mountain. The opaque or translucent dots are applied over top of the mountains to draw attention to the picture plane, making it look like the dots are hovering over a floating mountain. By bringing the colour of the background into the immediate foreground via the dots, perspective is skewed, situating the mountains within and without the picture plane.
The paintings are a form of cataloging for David. He has conquered each of these goliaths and the simple act of painting them is a form of scientific inquiry. He is mapping these mountains for his own personal sense of understanding and as a testament to their existence in temporal space. For this latest painting David uses an opaque pink, the colour used in topographic maps to delineate mountainous and glaciated zones.