This series of Mirror Paintings was a project concerned with experimentations with the flow of liquid paint and the notion of virtual spaces such as reflections, aerial photographs and maps.
The aesthetic that the liquids created often felt like mimicry of aerial photographs of the sea, where you can see clouds hovering over and ‘flowing’ around, chaotic.
The mirror base offered a sense of order amongst this chaos, whilst offering another layer of duplicated, extended space.
Everything combined to create some kind of surreal otherworldy environment, where scale was thrown off completely.
This Untitled piece was the culmination of a lot of thinking about the parralels between science and art.
Science and art both have some specifically imaginative elements, analytical aspects and experiments. I wanted to put forward a marriage between the two that would further both disciplines by dirtying their distinctions and boundaries.
Keith Tyson was a prticularly heavy influence on my work at this time with his interest in developing complexity through art, rather than simplifying and dissecting like science often advocates.
This Veritable Mess of Appetite was a project based around automatic writing.
Whilst unlocking some subconscious connections and holding them up to scrutiny, many of the pages have holes in them revealing sections of words and letters, turning this into both a conceptual and physical analysis and excavation of the headspace and a physical, sculptural piece with sculptural concerns.
This was a project in which I drew cracks onto paper and spray mounted directly onto the gallery wall.
They seem to imply a papering over of cracks, or an imagined break in the wall, leading to some unknown space.
The title Infrathin refers to a quote from Marcel Duchamp, who speaks of a whole universe residing in the simple plane of the paper.
This is a piece from my uni days… pretty old but I still enjoy it.
