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I work with the notion of an unstable image; using oil paints I try to mediate a movement in the paint from almost nothing to something, a point where paint appears to remain in a state of formation. Pressure and compression is applied by hand or some other implement in order to drag, smear and stain the surface. What is sensible or perceptible is pushed to a point where marks and gestures may collapse into a homogenous and dissipated surface or remain within the process of formation.
My paintings start from a proposition that a painting is a medium of potential motion, a surface of exchange through gesture, inscription and the mark, comprised of elements which are sensible and non-sensible, actual and virtual.
Recent work plays with two types of abstraction, gestural and geometric.
I draw inspiration from scientific and philosophical concepts of perception. Looking to art works which dematerialise, distort or deform the perceptual field to set it in motion such as the anamorphic images of the composite heads of Arcimboldo, the emergent surfaces of Henri Michaux and Therese Oulton, and the Perceptual/Optical art of the 60’s.
