with Cross I worked with illusion, seeing how i could reduce perspective drawing to it’s bare elements, and introduce repetitive line, a multiplication of something simple, to something confusing and seemingly spacious to the eye.
This piece, entitled Void was one of a large series of prints. The idea led on from my automatic writing in This Veritable Mess of Appetite, which I reused in this new context.
I layered the text up repeatedly, in a very simple fashion to create something I was amazed with; it’s almost like a landscape of my unconscious.
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.
I am fascinated by geometric abstract forms that act as all encompassing statements. The problem however lies in that these are often utopian fictions that deny reality as much as they try to make sense of it. The problem, I believe, is one of balance. The key is to find a dialogue between order and chaos, without falling into utopian fallacy. We need order – but we also need the anarchic. A touch of imperfection makes a transient thing of purity and genius. It is this that I constantly search for.
