As a painter and printmaker, the physical process of transformation has always been a significant part of my practise. The physical properties of paint or materials used, and the the way they adapt or change as the transformation takes place, creating a sense of spontaneous aesthetic balance. The creative act becomes part of how the work is interpreted, and there is a collaboration between the artists' intention and a sense of chance.
Experimentation, destroying, adapting, obliterating and failing to re-create an image formed in the minds is fundamental to painting.
My practise has developed from a fascination for the relationship between paint or materials, and surface and how this interaction connects with our senses and emotions.
Through the use of manufactured textured wallpaper the work embraces the anti-aesthetic qualities of a functional surface which does not have any sense of ‘taste’ or comfort in historical fine art quality. It is a surface which cannot achieve the effect of oils on canvas and will always fail, and it is the idea of failing to recreate something from the past which I find interesting.
The intangible notion of re-capturing a memory, a fleeting image which is visualised in the minds eye was the intention in the series series of paintings, ‘Birds in Wallpaper’, adding and subtracting detail according to how we feel at the time we created it. Memories distort or fade with time, or hide behind other memories which are then papered over, only to be revealed through a scraping or peeling away of the layers.