I believe there is a continuation to every object, alive or not, and every object is a continuation of another object. Everything around us is a highly fluid and ambiguous construction of beautiful lines, magical strokes and clever hues that fade in and our of our sight. This series is a continuation from my ‘Limitless’ series. Flow is present, you can recognize my hand, yet the latter body is surprisingly objective. These emotive works are gestural in their abstraction. I want to convey a strong sense of emotion. When viewed as group, the works represent Nature’s Weave. Each work brings with it a personal, ambiguous yet raw quality that stands separate from each of its counterparts. Somehow, we feel differently in the presence of each one.
I do not title the bodies of my work, nor the individual pieces within them. Instead, I use numbers. Again my aversion to definition comes into play. For me the job of art is to inspire, not to imply. My audience is my meaning maker. The aversion to implication comes into play in Series One: a large group of enveloping works that each convey a sense of incompletion. Each a book with blank end pages; each inviting its viewer to complete the story.
Series Two is markedly different. Flow is present – a relationship exists between the works in Series One and those included in Series Two. Though you might recognise my hand, the latter body is surprisingly figurative. These emotive works are gestural in their abstraction. Again I seek to convey a strong sense of emotion and, when viewed as a group, it’s as if each piece has a separate character. Each work brings with it a personal, quite ambiguous, yet raw quality that seems to stand separate from each of its counterparts. Somehow, we feel differently in the presence of each one.
In Series Three I return to a less figurative style, though these works differ quite obviously from those in Series One. It seems strange to say that there is landscape in these pieces – the viewer is unable to pick out any clearly defined scene – yet they bring about a feeling that we are surveying something, though with a particularly hazy, soft-focus lens. Perhaps it is the diluted quality that these works possess, which is mixed with a number of additional techniques we have not seen in previous pieces, that creates the feeling of texture and distance we find in a traditional landscape painting.