Materiality.
Tangibility.
Physicicality.
Sense.
I am interested in the viewing and placing significance on features and how obscure or clear they should be to the viewer. This sense of decontextualising memory through a different lens. Using medium and a range of brushes to make a range of marks and layers to create a sense of liminality. The process of fragmenting, collating and re-recording layers of my unconscious landscape creates works that can seem formally ambiguous to the viewer. Although my paintings are considerably clearer to me I have experienced that this is not the case to a stranger viewing my work. I'm intrigued with the personal visual language and narrative I associate with particular memories and the idea that there is a different association for the viewer or none at all. I would love to audio record the reactions of people encountering my work in a gallery space to see what visuals they find within the work and how the associate them.
“Anticipated absence inspires and grounds the birth of pictorial, and then sculptural representation.”
- Lisa Saltzman. 'Making Memory Matter: Strategies of Remembrance in Contemporary Art.'
TAKING A WALK IN A PAINTING THEY’RE NOT PROBABLE YET HARMONIOUS.
Below, is a reel of development… the out-takes. This reel is where you can see the experimental development of the work and how I have taken risks in making the work. The techniques I have tried have been typically unstable, there is a sense of materiality directing or having agency over the work relating back to the broader themes.
The sense of giving agency to technique is not unique to my painting methods you can also see this within my print as I use materials and unusual tools to create them.
