‘My practice is concerned with the making of paintings, painting installation and text work. I make paintings on canvas, paper, board, and aluminium as well as more temporary works on plastic sheeting and tape. Text work has taken the form of a series of transcribed notebooks made in parallel with the activity of making paintings.
Central to my practice are the processes associated with the material conditions of appearance at the surface of the painting: mark, gesture, qualities of surface and the mechanics of image formation as well as the perceptual movement, which occurs in the experience of apprehending a painting. The topographical and geomorphic elements in certain works, and the environments these create, are less to do with the idea of landscape and more the result of a process of tactile exploration; ‘mapping’ sensations, and articulating ‘thinking’, through these forms.
Temporality plays a critical role, particularly ‘non-linear’ notions of time. In contrast to the modernist requirement that a painting should not move, my paintings start from a proposition that a painting is a medium of potential perceptual motion despite its apparent fixity. Paint is understood as an extended temporal material with the potential to infiltrate to the edges of perception. I work with notions of illusion, not only as spatial, but also as a particular temporal perceptual motion of ambiguity, in which image may be experienced as potentially both present and absent or multiple. Resulting in an unstable or dissemblant image, that is mobile, deferred or virtual.
Paint is applied through pressure and compression, using a brush, gloved hand (providing traction) or some other form of implement. The paint is manipulated through, stippling, dragging, smearing, removal and staining in an attempt to mediate a point where the perception of image is unstable, Often this is a subtractive activity where potential forms are materialised where paint is removed or absent.
I draw on the philosophical and artistic counter tradition of the grotesque and art works that seek to destabilise the perceptual field, such as Guiseppe Arcimboldo, the optical art of the 1960s and the emergent surfaces of artists such as Jane Harris and Therese Oulton. The grotesque is associated with the temporal, excreting, desiring body of the material world rather than an ideal. At its core the grotesque painting is resistant to the idea of categorisation, there can be multiple, simultaneous categories or a failure to fit into any whatsoever. As a mental event, the grotesque can be understood as a process or motion of ambiguity and interruption, separate from its iconography; sitting at the edge what is known or perceivable and filling the void when literal interpretation fails.’
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Cookie | Type | Duration | Description |
---|---|---|---|
_wpfuuid | 1 | This cookie is used by the WPForms WordPress plugin. The cookie is used to allows the paid version of the plugin to connect entries by the same user and is used for some additional features like the Form Abandonment addon. | |
cookielawinfo-checkbox-necessary | 0 | 11 months | This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". |
cookielawinfo-checkbox-non-necessary | 0 | 11 months | This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Non Necessary". |
viewed_cookie_policy | 0 | 11 months | The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data. |
Analytics cookies help us understand how our visitors interact with the website. It helps us understand the number of visitors, where the visitors are coming from, and the pages they navigate. The cookies collect this data and are reported anonymously.
Cookie | Type | Duration | Description |
---|---|---|---|
YSC | 1 | session | This cookies is set by Youtube and is used to track the views of embedded videos. |
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
Cookie | Type | Duration | Description |
---|---|---|---|
test_cookie | 0 | 11 months | This cookie is set by doubleclick.net. The purpose of the cookie is to determine if the users' browser supports cookies. |
Cookie | Type | Duration | Description |
---|---|---|---|
CONSENT | 0 | 16 years 10 months 14 days 16 hours 18 minutes | No description |
Advertisement cookies help us provide our visitors with relevant ads and marketing campaigns.
Cookie | Type | Duration | Description |
---|---|---|---|
IDE | 1 | 1 year 24 days | Used by Google DoubleClick and stores information about how the user uses the website and any other advertisement before visiting the website. This is used to present users with ads that are relevant to them according to the user profile. |
VISITOR_INFO1_LIVE | 1 | 5 months 27 days | This cookie is set by Youtube. Used to track the information of the embedded YouTube videos on a website. |