Mechanical imagery is a sentimental base for my current work, but natural textures and dynamic, living systems are just as inspirational. Sometimes the art is about the piercing, unfiltered overflow of information, other times it’s more about how those components can be tamed to construct something darkly sublime, or delicate and fragile. I collage and paint, de-collage and sand; the archaeology and erasure of history within a piece are matters I investigate as I go along. Although my pieces may begin with mechanical-looking material, they grow organically.
In response to the ease in which creative ideas are generated, replicated and disseminated virtually, I never use a computer to pre-visualize or pre-assemble – handiwork is an inseparable part of my process, and every shape is cut individually. Each form develops on the canvas as shapes react to one another, informing the next mark. It’s possible to make the production more amenable to reproducible techniques like etching or digital printing (or have no physical form at all), but I still cling to the conventions of painting, such as the brush and stretched canvas. When I finish a painting, there will be no copy.