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As a painter I’m less concerned with pre-designing the painting, or taking advantage of a ‘dress rehearsal’ to fabricate a conclusion. The ground is a fertile area full of potential, a forum open to diversion, and asides; what is seen out of the corner of my eye. Points of reference include elements of figuration and abstraction, having second thoughts, making adjustments, excavating an image, balancing gesture with narrative, pentimenti and completely erasing something only to start again. The grid accurately putative in establishing order also appears as a reoccurring motif in my work. Grid and paint are simultaneously supportive and potentially cannibalistic, contraries living together in the same space.

I assemble found and made objects that leads to an approach that is contingent and adaptive; the objects have a temporal relationship to one another, like the characters in a play or narrative, delivering the particulars of an act or course of events. I use the term ‘arbitrary mythology’ as a way to develop new chapters in my on-going roaming saga. I engage with the physical act of piling up, demolishing and rebuilding ¬images and objects. It feels like the activity of a stagehand and underlines a preoccupation with theatre and artifice.