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As a formalist, I am interested in shape and spatial depth. I work with rectangular forms and the spaces between them, using layers and the illusion of layers to create a sense of depth.
A need to create order and rationality in my world informs my work. I have always been a linear person and experience my life as being a series of compartmentalized events. In my paintings, this presents itself in the form of the grid. The elements of my painting exist on a grid form, able to move backwards and forwards, up and down. Even my brushstrokes are in the form of perpendicular crosshatching, as this gives me a logical way in which to apply the paint.
The three-dimensional, constructed works go through several stages of construction, deconstruction, and reconstruction. At different points throughout this process I paint rectangular shapes. This process frees me from a tendency to become preoccupied with details and perfection. I am forced to contend with the random shapes that are created by tearing the works up and rebuilding them. The grid structure is a strategy I have utilized to make sense of the chaos. This process allows me to draw on my logical and linear strengths, while forcing me to work quickly and accept the unintended.
The works on canvas resulted from a study of the layered constructions. By examining the contours of the wood fragments, I discovered interesting and varied compositions. The feeling of layers remains through the use of shadows. I imagine each painting as representing a series of flat planes layered on top of each other. Each rectangular shape resides on its plane, hovering above the next layer and casting a shadow.
In both groups of paintings, the position of each shape in relation to the others is crucial. All edges should have a comfortable amount of space between them, and layered shapes should overlap by a comfortable amount as well. No two edges should line up or just touch. This creates a composition that is calm and stable. A sense of energy comes from the tension between the perceived and real layers within the painting. I try to create compositions that feel balanced and stable as well as dynamic and lively. I want to achieve a sense of contained energy, or a vibration of the individual pieces within their allotted space.
Painting allows me to express my fascination with colour in a very fluid, immediate way. I employ a systemic process that involves a series of logical, pre-defined steps. This approach subverts my desire to be in control and provides a stable backdrop on which to work intuitively with the paint. Incorporated into this process are elements of chance. By tearing wood, disassembling the paintings, randomly gluing objects to the canvas, I ensure that each painting experience is a unique one. A far cry from the realistic, representational paintings I was doing three years ago, this body of work embodies my acceptance of art as an intuitive, spontaneous process.
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