Most of my work – mostly painting extending to works on paper, digital video – I understand as capturing and communicating dynamics of transformations. I approach the notion of the unfolding of ‘self’ in time, impersonal and personal, in its connection to the materiality of paint.
To think and practice painting in this way means constituting, again and again, a position, which also mirrors forces beyond painting itself; ideas, research, memories, the contradictory facets of intensities, love/aggression, the beautiful and blind spots.
The practice interweaves the ‘handwritten’ (the immediacy of mark making), the affective dynamics of colours and the 'automated' (a calculated input of digital technology). Reading or research - philosophy, psychoanalysis, poetry - builds an integral background of my practice. However, apart from titles and voice-overs in videos, language is only a potential in the layers of paint. The work needs to stay open enough for the beholder to own it in a non-prescriptive way.
I contextualise my work with aspects of ancient and modern painting so as to weave historical strands dealing with a similar interest in contemporary Becoming.
Outcomes often consist of series, groups or projects, which allow cross-referencing among other groups, for example works on paper and digital videos.