Original Light, Acrylic on Birch Panel, 35.82 x 24 in (91 x 61cm), 2019
Space, Acrylic on Birch Panel, 35.82 x 24 in (91 x 61cm), 2019
Original Light, and its companion piece Space, are about the interaction of dissonant marks competing for their place. Because of the process of applying the marks then stripping them away (with scouring brushes and turpentine) the final marks contain a reference to their own decay.
In Original Light, the visual point of reference is full. There is no available space, only presence and energy (energy being the source of all life). However, in Space, the life force is contextualised by a darkness which is seemingly limitless, an abyss. And so there is no light without darkness, no presence without absence, no now without a before and after. No I without a before me and after me.
Just as the human mind seeks to find meaning in experience, the eye seeks to find pattern and order. So the Fragment series tries to create an illusion that there is pattern when there is none. It is only by closer inspection that it becomes apparent that the pattern breaks down. When looked for long enough, the apparent order begins to tumble into a quiet chaos, a chaos that the viewer might quite easily pass by.
Fragment, Collage, wallpaper and acrylic on canvas, 35.82 x 24 in (91 x 61cm), 2019
This untitled diptych is a work in progress and the first in a series of works which lift fabric patterns from garments attributable to specific cultures, or which carry the signifier of a certain group of people or nation, and smashes the patterns together. The ultimate aim of this process would be to smash together the imagery of different cultures, which is something of a comment on (and celebration of) modern multiculturalism.
Summer’s End, Clarefontaine paper, Canford Card and Acrylic on Birch Panel, 35.82 x 24 in (91 x 61cm), 2019
Summer’s End is included to help explain the role of collage in the work and in the process of finding spaces and contexts through which we can assign meaning. The top row, the sea; the middle row the heat of the sun and sand, the bottom row a fading light and suggestion of an evening sky and setting sun, achieved by placing plains of colour side by side.
The mural design in the figure below takes the same approach but breaks apart each plain with the introduction of shape.
Coffee, Stapler, Copier, Crap
The blind contour drawings (drawing by fixing the eye on the object and not looking at the page) break the hand-eye coordination relied up in conventional drawing but retain an uninterrupted concentration of the eye on the object and rely on the visual intuition of the draftsman.
Coffee, Stapler, Copier, Crap is a series of blind contour drawings done whilst walking around a corporate office on a Saturday. I was working at that office at the time and the below Dirty Dishes is somewhat confessional. The dishes are now clean.
A Ganesh T-Shirt Bought in Rambuttri Village and Hung Over a Folded Chair, Ink and pastel on paper, 23.38 x 16.53 (59.4 x 42 cm), 2018
The image of Ganesh is destroyed (or abstracted) in the process which is fitting when in Hindu practice the image of Ganesh should not be used in secular contexts.
Fisherman. Detail from sketchbook.
The Rope sculptures are handmade from West African fabrics and hung idiosyncratically to allow at once a sense of form and formlessness. Rope is an object which binds in order to facilitate construction, to hold parts together, to control other objects for tying, lifting, pulling, holding in place. An object as large as a ship is held to the shore by ropes. Yet rope which is not tied spills out with a fluidity which is the source of new forms and new possibilities..
The Wave Series
The Wave series which is a series of action paintings trying to capture something of the motion of the sea, but unlike some action painting which places mark on top of mark on top of mark, so far as possible, the paintings rely on individual marks only, one strike of the canvas.
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