I want that uncertainty and ambiguity in the viewing experience.
While my works are inspired by a strongly narrative element grounded in the context of my own personal experience and history, much of my painting is devoid of figuration and extraneous detail. Large areas are left undefined, empty of fuss and unnecessary congestion. I leave these dark holes for the viewer to peer into and struggle through.
For me, drawing and painting are both journeys through layers. My paintings are intensively worked, scrapped back repeatedly and re-configured, looking for something that is unified, full and ordered.
Current works are semi-representational and attempt to capture moods and emotions conveyed in the most reduced terms possible all while toying with the playfulness and perceived seriousness of painting.
I paint in bold, pulsating swirls of colour that teeter between figuration and abstraction drawing inspiration from such disparate ideas as social media, hard rock, neural networks, blockchain, poetry, all varied interpretations of interconnectedness.
The topics that I’m interested in are often very personal and so these fragments are all chosen with a kind of hidden meaning. If I reveal why I am interested in these things, it cuts the meaning down and narrows the scope for interpretation. I need to have that emotional connection to the fragments and I hope that that is communicated, but that is up to the audience to decide how they interpret my work.
But mostly I want the viewer to be drawn in and hang around in this space of questioning what they are seeing. I want that uncertainty and ambiguity in the viewing experience.