Vital
to my identity as an artist is to be understood. I want the work to be out in
the world, having an effect and to be
legible to a broad audience. It seems very clear that the more people are moved by a work, whether they can articulate their response
to it or not, the better I am doing at my job. As I hope to do this in a way that bridges the aesthetic between high and accessible art it is hugely important to me
to continually refine the way I present the ideas that come for this reason I sometimes work over and over with a motif, a material or a process.
I aspire to people
being utterly moved upon interacting with pieces I have created in the same way
as upon encountering moments of extraordinary beauty in nature; to inspire that
feeling of reverie. At the very core of everything I hope to express is a sense of
rapture and the persistent desire to communicate fragile awe and thereby connection to the essence of spirit. I hope to
communicate this by creating direct experience of it or wakening memory of
experience of it in some way.
Painting is the core of my practice but my
practice extends beyond the traditional interpretation of paint.
Even working beyond the ‘canvas’ I have often been frustrated by the impulse to
request spatial permission from a
presented surface or dimensioned space beyond the canvas. My curiosity lies now
in exploring how to create open-ended works in terms of spatial occupancy.
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