My Practice uses the language of geometric abstraction, simple forms and colour that presents painting as both material and physical object, and that also operates optically to create perceived depth and space. My research focuses on how painted forms, raw canvas, and light work together to create the illusion of shallow depths and perceived space that animate surface movements and shifts.
Largely autobiographical my inspiration comes from the everyday things I see while travelling from one point to another, images are seen in parts, cropped like a viewfinder, colours blur together and become pools of graduations of intensity. The diagonal lines compress and expand the internal logic of the picture plane as well as extending the forms into the exhibition space.
The methodology behind the work has a hands on approach to the preparation of the canvas and then a distancing with the application of paint to the surface through a spray gun. This process allows for unpredictable outcomes through overspray and bleeding, these markers or ‘flaws’, operate as emphasis to the perfection of the forms and also importantly in opposition, as subverting the purity of the formal language of the line. Beauty is also an important concept, beauty as universal in its ability to be understood as a common truth, across borders, cultures and ages.
As the practice continues to grow and change new questions are revealed, finding internal spaces of tension, within the picture plane, an extension might be to look outside of the frame to the space of the exhibition room itself.