A fundamental part of my practice is to transform through making and using materials and objects that already exist in my environment. Through the specifics of my own visual language I create a new state of being for these objects and materials, bringing the materials to a new moment of ontogenesis (Ingold, 2010) wherein the emergent form takes on a new purpose in the world. My aim through process is to extricate these erstwhile objects from the cul-de-sac into which they had been previously cast and invest them with a new life. The process of material alteration both yields and embeds a new narrative into the object, and the process of placement renders each work a fragment in a larger visual and spatial lexicon that alters as the viewer moves through the space. Reflective surfaces shimmer, painting becomes object, backs become fronts, floor becomes wall, textures and colours become unbounded; fluid connections in a single work. By using the wall, floor and conventional installation forms such as the plinth as part of a modular language, the placement of each work may either reinforce or escape its own reading. The process of installing the works this way opens new slippages between painting, sculpture and assemblage alongside a deliberate refutation of the pictorial aim of a painting in favour of its properties as an object.

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Matter to Objects, Objects to Matter, 2021  

canvas, linen, oil paint, acrylic paint, resin, pigment, lacquer, spray paint, sawdust, MDF, gesso, newspaper, adhesive acrylic, copper, aluminium, plaster, printed canvas fabric, various timbers, woven fabric and ink

dimensions variable

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