Artist Statements

Home                                                                                                                                                                   Contact Me

Inside 2012

Inside as a research project explores and challenges the idea of surface, materiality and the process and relevance of painting both as a practice and a medium. These concerns are raised through a process of encapsulating and containing pigments, paints and objects within the resin. In a sense, Inside sustains the act of painting and gesture, and it becomes a consideration of mark marking, which is referenced in the works.

This has been informed by the impression of manipulating the conventions of painting, with regards to the practitioners Fabian Marcaccio and the Boyle Family. These artists address the research question through the incorporation of interdisciplinary mediums, which extend painting into sculpture and object, hereby challenging the viewer's perception of the boundaries of painting.

In Marcaccio's work he creates mutations of digitally manipulated images, painted three dimensional surfaces and sculptural forms. The abstracted works shift the viewer's perception, creating a form of materiality and physical engagement with the sculptural paintings, giving rise to a visceral response by the viewer. The Boyle Family, specifically the Earth studies, offer new interpretations, as they preserve and document the surface of the earth through casts of paint, resin and natural materials from the site. They endeavour to create artworks that will not exclude anything as a possible subject.

In response to this, within my practice the paintings themselves go through a multi-layered process to create visual illusions that capture moments of frozen gestures, lending themselves to landscape references. The surface of the works extends into space, growing past two dimensional illusions. The texture and depth of the surface creates a sculptural aspect and draws the work into a tense space between object and painting, concealing and revealing, opacity and transparency, texture and flatness. Movement and gesture are literally captured and frozen, the paintings sit in stasis. The media is a combination of two disparate ends of art materials, the organic/natural/raw leaves, and pigment, and the unnatural paint and resin. The inclusion of these materials constructs a corrupted aesthetic of a toxic spill or pictorial mutation; this develops a conversation within the work between object and image. Working in such a way within the discipline of expanded painting, the medium of resin and industrial paint and dirt take the work to a contemporary place through materiality and objectness. The works are dirty and ugly, hereby challenging a beautiful aesthetic.

The present works have evolved through the process of doing and the multiple questions and discoveries that arose from this mode of working. I found out that the work doesn’t have to be beautiful and in fact was more interesting and had further impact when it was rich with multiple layers and industrial materials.

Heretofore 2012

Transitory Embodiment II 2010

In this body of work I have been using a emotional and free approach to painting, allowing the paint to be paint, allowing it to move and mix with its own will. I am not interested in the direct representation of life or nature but further interested in the complex human situation. Art is a language of communication and its situations, feelings and states of mind that beckon an attempt to artistically express and exteriorize these sensations and give them a form.

"Abstraction has been due not so much to a positive thing but to the absence of a valid image. Abstraction in itself is nothing." Modernist Art

Within this abstraction of nothing is an interlocking between image and paint, the paint is the image and the image is the paint. By removing recognizable images the viewer's perception shift from an intellectual level of understanding to a more spiritual and emotional view challenging the viewer to feel the work rather than read it.

I am interested in creating an experience, becoming enveloped by a feeling (colour field/gestural - Newman). Using colour as a background as well as a form I am creating an ambiguous space expressing my own state of being. Through the physical process of painting itself, develops a bodily experience that is communicated through the actual paint, which carries its own internal dialogue. Working simultaneously with chance/accident and the imposition of control knowing that they both exist in my process I embrace both elements rather than adding limitations, relying on a combination of pure feeling in making the painting and allowing the painting to emerge, letting the paint move. As a result, colour becomes very important, the colour creates the image, the story, feeling, emotion, depth and space. Creating a sultry atmosphere of organic textures and forms relating to the body and emotional space leaving the paintings open to personal interpretation and allowing the viewer to become involved in a visual way.

Transitory Embodiment I 2010

The reference to identity and displacement is a concept that runs through my works and suggests an open issue of physical bodily space and mental emotional space.  Being able to experience being transposed to another place when viewing the image, projecting a sense of phenomenology through experience.

Creating a personal statement of expressions. Through my movements within the space and applying my feelings and emotions onto the surface, using the intensity of painted marks and colours to create a place of identity and experience.  I am interested in creating a place, an identity within the painted marks and layers.  An emotive experience which is accessible to the viewer.

Using the act of painting as a tool to apply the paint as a personal signature of expression and motion. I am creating these expressions through body movements, ribbons and splashes of colour, transparent layers and forms together with the painted surface, to encompass the viewer into the space.

The nature of this work allows me to free my imagination and thoughts and provides many chance opportunities and happy accidents to grace and influence the work. I work quite consciously employing both traditional and contemporary methods, although in these works i have been challenging myself to allow more of my unconscious to impact the work. By applying the paint blind I am removing a lot of the control restraints I place on myself and am allowing my emotions and movements more freedom to create the marks and image.

This method permits me to become part of the work and of the image; each mark becomes part of an experience a moment, building a structure of coloured layers and marks relating to the body in the space. Creating a place of identity, transposing it into the painted surface and forming a personal experience.

Ephemeral Transpositions 2010

Sculptural Painting 2009

Artist Statement       

Using verbs such as pour, drip, splatter, spray and dip in the application of paint allows it to explore the support surface and become its own material. When combining materials there is a tension between fluidity and movement of the paint and the stiffness of the plastic or resin creating a dynamic unity of materials.

 By manipulating the surface into shapes and creating texture by melting, moulding and adding colour, to give painting a sculptural structure, through form and painting gestures. I initially experimented with combining paint and resin, as a material I found the glassy transparency and mould-able qualities of the resin interesting. Especially with the way light travels through and bounces off the resin surface, which encapsulates the colour of the paint into a glossy transparent layer.

 I also played with other transparent surfaces and coloured plastics heating them, molding them and applying paint, the depth of the surface and paint is a different quality to the resin, it is separated and the materials are still singular.

Restricting my colour range to only two colours per work maximum was a limitation I applied as not to distract and to emphasize the materials and shapes and forms created. Allowing the materials space and motion within itself.

The manipulation of the materials creates a three dimensional effect on the work which forms the sculptural structure while still possessing aspects of painting.