What themes and concepts drift into your work?
My practice circulates around the notion of recycling past
marks, drawings, photographs and video work, ensuring it is always referencing
something done before, while growing into something new.
This cyclical approach to my paintings is also why it is important
for me to work in series, as opposed to individual paintings. I strive for them
to converse with each other through their repeated marks and gestures. By
composing pieces that speak to each other, I can begin to coordinate a slight
narrative for the viewer to navigate through. This is something I am fascinated
by: a suggestion of how marks can lead the viewer's eyes around the canvas, yet
giving the eye a freedom to wander between different gestural marks.
My interest in these fluid, long, and almost calligraphic
painted marks were first developed from writings I had noted of certain
memories. Visually enlarging words on Photoshop and projecting them onto the
canvas, so they are completely separated from their meaning, and becoming
pure form in the process. This is a form of manipulating and extending time,
changing something that was originally a spontaneous mark of emotion, to a slow,
elongated mark. The notion of time is integral to my paintings. I often use
materials that allow a temporal life.