My painting methodology provokes interactions between a surface and applications of paint or ink.
In my work, my mark-making acts as a visual metaphor representing both the commonality in the use of early marks shared by us all, and the uniqueness of expression made by each individual.
I paint on a diverse range of surfaces, observing and responding to how each combination of chosen media behaves and interacts with each other. My intention is to enable the qualities of the various materials to emerge that relate directly to the degrees of control, intervention or chance that I am able to influence. I change the type, consistency and colour of the paint or ink, its placement and its volume, whilst chance might impact through elements such as air currents, vibrations, atmospheric conditions and gravity; these exert their own unique influence over the media to which I respond to and incorporate into my compositions, in a continuous and fluid dialogue.
At the root of my work is the cross-pollination of Eastern and Western philosophy and visual culture. Research into the work and methods of Mono-Ha, Gutai, Dansaekhwa, Shodo (Japanese Calligraphy) and Lee Ufan in particular have informed and influenced my brush marks’ gestural intent. Inspired by Eastern traditions, areas of unpainted surface are also an integral part of my work. Study of the work of artists including Callum Innes, Fiona Rae, Jessica Stockholder and Daniel Buren has also contributed significantly to the refinement of my painting process and presentation ideas.
I investigate installation spaces within which to locate my paintings.
I use mirrored surfaces and suspended work to visually break up the white cube, generating the illusion of space, allowing the viewer to simultaneously experience complete or incomplete reflections and combinations of alignments of the curated works, encouraging curiosity, contemplation and interaction with the surrounding physical space.