Process

In my practice I transition from vertical planes (painting) to sequential imaging (video) and intersecting forms in space (sculpture). The medium is not the message; it’s simply the medium. I am not interested in being a painter, sculptor or media artist. I am interested in art being an expression of one’s true self. My ambition is to be a master of immersive art, a purveyor of emotion, neither formed or formless, a transition, a pregnant pause, a contemplation, a truth, a moment although fleeting, felt deeply.

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Carl Jung described the “Shadow” archetype as the reflection of one’s true self. This is the animal side of our personality, which is the source of both our creative and destructive energies.

In my work I utilise saturated colour fields and reductive forms, I deconstruct organic materials then rebuild with the context of the “collective unconscious”.

I look for universal themes and emotive constructs within the abstracted forms. Once dissected, I then reassemble the forms into compositions, give them evocative titles, which are clues to decode the intention behind each work.
 

For me a successful piece works on many levels, firstly viscerally, the work like a flower needs to entice. Then if the viewers allow themselves time the dialogue can become deeper, uniquely personal to the individual.

I use technology to create procedural patterns coupled with reflection to deliver  immersive experiences. I fall into a hybrid category because these experiences are driven by technology. An irony I cannot escape is that it’s actually technology, which now shapes our collective consciousness far more than traditional mechanisms like culture.

We now deploy our ideas, thoughts, musings and value systems impulsively across the globe at an astounding rate. So naturally I am seduced by technology, its smooth reflective surfaces promising an enriched life. So it seems appropriate to deliver my art using the very technology that I feel subverts our humanity.