Locating the central component of my practice in painting, I have come to consider how my previous experience of working with site and installation has come to inform my approach. Entering into making paintings from this minor or external position, I aim to emphasise this exteriority as having its own language that also can enable latent possibilities to emerge. There is a slippage that occurs between my engagement with the exterior environment, of looking and gathering to that of the studio; a condensed and focused space. Using collected materials, often previously discarded, they fuse together on various plains within the cohabitation of the studio to create something new. The continual inﬂux of material frequently shifts the conﬁguration in the studio. By bringing matter and form together I compose plains layered from my quotidian surroundings. The space becomes an eco-system of old and new materials cohabiting, fusing or fracturing. The constant reﬁguring of the studio space facilitates the assimilation of past works and new creations. The studio facilitates the process of addition, the collection from outside, to amalgamate into a surface. In the studio, surface is the main frame to compose material and fabrics. Through an intuitive process of mark making and gesture a language of painting emerges.
” Art is more surprising, bigger, wider and stronger than what I can fathom. So I have composed a list of texts, a video interview, an animation and a photograph that point towards the various means in which to consider art and ones artistic practice. “
Photographs and text courtesy of the artist.