I understand my work – mostly painting extending to works on paper, digital video – as making visible what I experience at the borders of imagination and observation: tangible observable realities, fluency of truth, dream time, relating to others, fleeting screens of the outside and social webs.
None of my works is planned, although there can be an initial focus on a possible subject or notion. Thus, the impact of spontaneous and unconscious imagery and impulse plays a major part in my process-led practice. It allows me to explore and visualise an uncertainty, which I perceive to be a common state of being contemporary.
For me, the unconscious, a powerful force in making social worlds, seems to hold the repetitions of trauma and anxiety as much as ancient pathways of healing and a vital curiosity for manifesting the virtual and new. Painting means here ‘letting oneself paint’, experiencing and experimenting.
Because others in the deep time of art dealt with similar influences, I contextualise my work with aspects of ancient and modern painting so as to fold historical strands into contemporary Becomings. Digitally manipulated fragments of such sources, projected onto the emerging work, introduce such strands as temporary springboards for new connections.
The ‘handmade’ (the immediacy of mark making, the time spent with making an original), the affective dynamics of colours and the 'automated' (a calculated input of digital technology), reading and research build an integral background of my practice. It evolves around the question, how does the notion of an unfolding impersonal and personal ‘self’ in time connect to the materiality of paint?