My practice is formed by the essential dialogue between line, form, and colour. Harmony is generated from the balance between the different vibrations and tensions amongst these three elements. Energy vibrates through different juxtaposing and complementary combinations. The dialogue derives from a variety of interpretations produced from my surrounding conscious and subconscious visual environments.
I am visually interested in medieval illuminated manuscripts, focussing on the materiality of the page and the treatment of the form of the word and the surrounding illumination. My initial starting point for most of my work is observational drawing of natural forms. Through the drawing process my hand is trained to move with the lines of nature, which is echoed throughout my work.
I then create abstract forms from these drawings.
I use the positive and the negative of the image equally, whilst remaining conscious of the defining line.
I am interested in, and monopolise, the element of unpredictability within nature; sometimes adhering to the principles of geometry or distorting it.
I also echo this through my practice; exploring new techniques, whichever
I feel most appropriate, to engage the viewer.
I layer different forms, use idiosyncratic mark making and individualistic colour combinations to create strong responses in the viewer.
I use a range of scale with the aim of engaging and communicating with, not only the viewer’s eyes, but their whole body. In my work
I emphasise the relativity and individuality of the viewing experience.
I keep my translations pure, minimising the distractions of everyday noise surrounding us and
I invite the viewer to enter the same space
I create through my work.
