My work consists of both paintings and drawings and is reliant on materiality and the processes of its making. It’s non-representational nature establishes simultaneously the language of paint that is neither abstract nor figurative but appropriated and specific to the event of its making. This approach sees the image develop as a thought process that is temporal and intuitive, surpassing the predetermined visual narratives or categorizations that could limit the work’s potential.
I am interested in the history of image that encapsulates and archives painterly decisions, with marks and gestures acting as systems for withholding and revealing of information. By over-painting, adding and removing, the image is assembled and pulled apart at the same time, creating tensions between spaces and forms.
As such, the image is never observed as a whole but as a set or rules and investigations that is continually reassessed and reconfigured to make space for new identity and the character within the work. This fragmented and dislocated nature of the image engenders the qualities of memory and recollection and marks the stages through which you come to look at the work as if anew.