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.
Scouring the Internet, junk shops, markets and scrap metal yards, I collect materials for aesthetic reasons; from the handcrafted, found and re-appropriated to the mass-produced. I am interested in questions surrounding their relative perceived values and associative qualities.
A large part of my practice involves layering of materials and exploring contextual connections through playful enquiry – drawing on ideas of expressionism and feminism, process, labour, narrative and memory.
I work intuitively by: exploring and inventing ways for assembling the parts; building on associative qualities; manipulating materials and surfaces; and playing with the opposing intensities of quick expressive gestures and labour-intense processes. I produce artworks that incorporate painting, ceramics, wax, found materials, magazine imagery and textiles.
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.