I am a painter driven under the influence of collage.
Every artwork that I create; despite its’ independence, has hanging over it the fear that at any time it could be knowingly defiled, cut up or forced into intercourse with another. Nothing operates in a vacuum and my artwork knows this. It is highly aware that its’ existence is borne out of and dependent upon history, culture, economics, time, personality and ego.
I scrape, scratch, deform and reform. I hide, reveal, stick and pick. I rub, melt, glue and screw. The work is done zealously, spontaneously and develops out of what has gone before. Ignorance is bliss in the art of searching.
I am strict with myself; I draw or paint the first thing that comes into my head. Honesty is the best policy. Language and understanding evolve from the processes of experimenting and experimenting some more. Through working in an automatic, subconscious, spontaneous way I am compulsively seeking resolution to the unending, unrelenting, question of questioning. A tiresome, burdensome, relentless push into the abyss of “but why?” and “then what?”. A screaming, yearning, stomach churning journey to see what comes out, to see what happens, to see how I handle it.
When I paint I use whatever comes to hand to make marks or fill in space. Ultimately satisfying the paintings need for my touch. The painting aches for my full attention. I use small brushes to maximise the time I spend on each layer, which is completed in full before being defaced and the next layer started. The editing and rearranging process is indicative of the constant battle between the exhibitionism of the artworks’ raw emotion and my rationale to quieten, categorise and ultimately intellectualise. I thrive on these battles of will and seek more and more knowledge in order to undermine my own artworks. To test their mettle and intellectual stability. I want to unsure their footing and make them and myself fight harder and harder in order to achieve exhilaration in my exhausting of their potential.