My paintings, meticulously prepared and achieved, explore digital manipulation programs and their influence on the concept of the artist as draughtsman.
The paintings seek to reclaim the importance of the artists’ hand at work. Previous work: paintings, drawings and photographs are all viable options for digital manipulation. Once edited, these non-sequitur images become paintings (in their own right) expanding the previous collection of used material.
Painting is for me a visual language and is experienced as such through its colour, shape, space, scale and through its visible processes.
I work in an improvisatory way, staying alert to the different stages in the life of a painting, allowing the unintentional to influence my decisions. Through the painting process, personal histories and associations emerge and also affect the direction a work proceeds.
I don’t attempt to depict the world or its events but rather to touch on a common resonance.
I work intuitively with materials, adopting an ‘automatic’ approach driven by the subconscious, apparent contradictions surface as I play with the opposing intensities of laborious (hand building in clay) processes and quick impulsive gestures. I am interested in our relationship with ‘objects’ and the physical act of making with ones hands, exploring processes and production as a way of understanding or interpreting the connection we have to our environment. A large part of my practice involves layering of materials and exploring and responding to contextual connections through playful enquiry – drawing on ideas of expressionism, symbolism, feminism, labour and the passing of time. Evoking memories and exploring the transient nature of life concurrent with the longevity of cultural memory.
The present – in the form of my activity, interventions and documentation – collides with the past (recent or otherwise) as embodied in fallen or unearthed fragments I retrieve.
I gather evidence of my encounters that includes recorded data, sound, collected fragments, photographs, prints, frottage and drawings.
By tracing narratives of passage I wish to invoke a sense of mystery, a feeling of reverie, or to prompt memories.