Searching for ways to see things from new perspectives I ask how do we remain open and supple to the interpretation and reinterpretation of objects and ideas in flux around us.
How can we mediate between the concrete and the intangible in a social and physical landscape that is constantly evolving?
The use of a camera as a way of documenting the physical world harnessing that which is seen and recognized. It utilizes a language already loaded with complex associations. I create my own media using devices such as layering, cropping and various methods of distortion both in physical and digital ways of working.
The processing of images through the photographed screen performs the function of appearing the onscreen protagonist in a plot where the cold fact of environment and the exorcisms of the subconscious are both seen and re- experienced as the third person.
I often use my own body as material and or application tool allowing it to release the contained information within. This offers a fuller insight into the body’s consciousness. These methods of transference and projection both encourage elements of chance and ask me as an artist to accept the inherent complications and contradiction created in me and by me as part of human nature and our contemporary context.
Constructing sculpturally focused sets and scenes often using my own body or its experiences represent the make up and feeling of the inner-self. My interest lies in the material tensions between the body and object and the metaphysical realm of the seen and unseen, where physical location and its emotional response are seen in tandem.
Using polarities of dark and light, hi-visibility, vivid confrontational colours are spliced together with the mystery of the unknown, captured in indefinable murky tones, the black shadows of the outer edge, the unknown well contained within the body.
Painting acts as the push and pull between form and formlessness, feeling the limits of reason and heading towards the unexpected, working the eye to explore through the body the previously unseen lie of the land within.
It’s a way of handling inconsistencies, situating them to cohere through the activity of the human spirit, through pooling, wiping, sanding, stroking etc. Painting becoming the zone where incoming and outgoing tides crash together, spilling out as feeling, as image, as plea, as response.
By interconnecting these processes I seek to explore their coexistence with the view that we ourselves are simultaneous beings equally the sum of all our conversations, experiences, and ways of viewing that which is around us.
My intuitive and process-driven way of working is a search though different media to express the tension between the surface and what’s beneath.