"And The Little One Said"
I work simultaneously in the round, having many pieces on the go at once. My painterly surfaces are constantly on the move as I rotate and flip them around the studio like an object. They continually travel back and forth from floor to wall as I examine and consider both sides of the surface. Oil, acrylic, pigment, and ink are diluted with turpentine, water or bleach resulting in a soft delicate palette that saturate quilts, wadding and mattress protectors as an attempt to filter paint through form. Once the work reaches a natural saturation point my excitement temporarily diminishes and so I allow time to pass in order to become detached from this intense activity. Paint dries as my materials become rigid, stagnant and crusty. Interested in an essential internal quality I take further action to re-energise through disorder. Fabrics are un-stitched and pulled apart as I reclaim the fruits of my labour.
The work raises questions about the physical value and material nature of materiality, and recently ones that we associate with the body that offer a sensual, secure, warm, comforting experience. I reflect on broader subjects including the boundary between internal and external space as I have notions about a hidden bodily strength and beauty that can only exist through it’s external flaws. I question why this is only discovered when faced with something of a destructive nature. These binary oppositions are the outcome of my work as I develop a practice that is in a constant state of flux, a continuous flow of creativity while uncertainty and indecision come into play. The works embody feelings of both separation and attachment, chaos and control and draw on life experience associated with the body, motherhood and psychoanalysis to charge their physical abstract forms.