My paintings are a visual language resisting verbal interpretation, untied to literal meaning, an absented presence. They sit silently in the globalised, unanchored, over-information that we increasingly drift in.
For my Shadow Sculpture series I borrow objects that are invested with their lenders’ emotions, memories, and sense of identity. I interview each lender about their attachment to their object, and then create a shadow with it. Although the shadow’s composition is influenced by my interpretation of lenders’ stories, ultimately the shadow becomes a detached, autonomous entity, no longer anchored to, or a stand-in for, its casting object.
Reproduced in my paintings, each shadow becomes a manifestation of, or remains of, my exchange with the lender. I build my paintings in many fine, flat, transparent layers, sculpting with colour. I am interested in the moment when the painting takes on a life of its own and seems to guide my hand; when the colour-sculpted presence takes on an expression of ‘suchness’, and becomes an intricately detailed, solid form.
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