I understand my work – painting, works on paper, digital video – as making visible what I experience at the borders of imagination and observation: tangible constantly changing realities, ambiguity of meaning, dream time, relating to others, 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 practice. It allows me to explore painting as ‘letting oneself paint’, as experiencing and experimenting with sediments of time, memory.
Because others in the deep time of art who I admire dealt with similar influences, my work refers to 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. I am especially interested in alchemical Renaissance imagery, which refers to psychological transformations and to Baroque paintings dealing mostly with mythological themes.
Thus the ‘handmade’ (the immediacy of mark making), 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/ing?