Earlier insulation tape works were concerned with perception of light, pattern and disorder - with the spaces between things as much as the things themselves.
Installations explored themes of remembered, imagined and virtual landscape.
I'm interested in how the forms and energy of the places we grow up in or connect to, imprint us. My work explores the language of those landscapes and the idea of landscape as a reciprocal encounter and an inner, as much as an outer, place.
Recent paintings are shaped by sensory responses to places, light, music, memory.
"We experience the sensuous world only by rendering ourselves vulnerable to that world. Sensory perception is this ongoing interweavement: the terrain enters into us only to the extent that we allow ourselves to be taken up within that terrain.......
David Abram, The Spell of the Sensuous
This series was done on perspex with oil paint.
After working on wood it was faster to work on and more about surface and colour.
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I trained in Sculpture - I love the physical, object -presence of things. I was working in a responsive way to the forms and marks in the wood, using paint and looking for a way to break the surface of the wood - to create my own marks as well as just using paint. I went to Scotland and was inspired to use my axe to draw on and mark the wood, by some cut marks I saw on a whale bone. The marks were visually beautiful yet the knowledge of the tool and their making was also violent and disturbing. I like the sense of tension in that idea, of holding both simultaneously. I also love the marks from the axe, the idea of it being drawing, painting and sculpture simultaneously.
This series of paintings also from 2016, were initially prompted by an experience in absolute darkness and a deep sense of connection to colour and form in the absence of visual sight.