About

 

 

My work bridges the boundary between the natural and the un-natural. I particularly enjoy the way that plaster - when used through free-hand application, as opposed to a more traditional, smooth, unblemished cast - creates rough, irregular and organic shapes, reminiscent of natural rock-like textures. When combined with painting processes that use saturated, vivid and un-natural colour, our perception becomes ambiguous. Seemingly natural textures, surfaces and forms become surreal when they are distorted, abstracted, and re-appropriated through the juxtaposition of unexpected colours and positioning within the space.

 

Through these objects, we become more connected with our subconscious, linking with our memory and pre-assigned knowledge of a recognisable shape, colour, surface or form. This is then retracted from us when these material constructions transport us into an alternate reality; another artificial dimension. We are able to experience a physical embodiment of painting, entering a constructed synthetic environment often reminiscent of a landscape. Objects within the space become supernatural through overlay of toxic, fluorescent colour, taking us into another space, disabling our reality.

 

The paint creates a heightened awareness of the form but can often be illusionistic. Areas of light and dark become exaggerated as shadows become enhanced or sometimes misplaced. Industrial connotations come into play with the use of shimmering, reflective metallic paint. The combination of natural and manmade substances co-exist, merging seamlessly from one into another. Like a parasite, the paint clings to the underlying form, masking the inherent chalky texture of the plaster.

 

Unlike traditional forms of painting where all the information is held within the parameters of a rectangular space, my work seeks to challenge the Viewer’s pre-conceived ideas of what a painting is and how it should be viewed by pulling the shapes and forms into the room.

 

Tension is also created between the perceived and real weights of the objects – sometimes appearing heavy, while at others strangely light; the onlooker feeling minute against one sculpture but colossal when standing next to another. Constructed ‘limbs’ seem at times impossible, extending them into the air with a playful ridiculousness; the way in which they appear to be balanced or unstable is unsettling and, again, brings into question their material essence.