2019-2020

When I began as an artist to reflect on my place in the world – where and who we are – I found that these reflections began to coincide with how I understood the practices of painting and sculpture, photography and performance. I mean by this that while I found myself engaging with all of these practices, I also realized that this engagement could not be limited to any one of them. For instance, I am interested in painting, but not for its specificity but instead for its projective properties, which is to say I am interested in projection rather than painting. I look for acts of projection wherever I can find them, and work accordingly to discover their performative potential. I understand this potential as our body’s sentient engagement with space as itself material, an oscillating flow between my emotive relationship to material dimensionality and the virtual experience that transcends that materiality.

Painting, then, is in effect movement, existing simultaneously as Presence and the complex projections we call Past, Present and Future – a spatial concept in which space is the materiality of consciousness, resonating with ethical value. Painting, therefore, is a demonstration of this oscillating movement. In this register, the idea of the New is simply a recognition of this oscillating interdependence. 

I started as a result to think of it in terms of the aperture, a photographic concept but also one aligned with the threshold and the liminal. It is here that the world we move through – a terrain that is three-dimensional, sculptural and architectural – converges with, or is constituted by the subject’s consciousness and intent. It is this sense of intent – the intent to reconstitute the real (real in the phenomenal sense of what is seen and who is seeing) that positions the work as painting.