At a glance, my work could be defined as still life and portraiture, however, these terms fail to accurately describe the intent behind my paintings.
I like to employ the term ‘visual white noise’ to illustrate what my paintings amount to. Exploring themes such as life, death, vitality and decay, my objective is to elicit how an orgy of meaningful symbolism, evident in most scholarly and academic art, paradoxically alludes to no meaning at all.
I see my work as an attempt to answer rhetorical questions around the roles tradition and history play in our understanding of meaning. By subverting classical tropes such as still life and portraiture, I aim to question their capacity to be messengers of meaning in a contemporary art context.
The works are constructs of the imagination and memory; by negating the reliance of representation and approximation of real-world subjects, it allows sensation to be brought to the fore.
The paintings are ultimately a meditation on the futility of the human condition, therefore the fragility of the rice paper, the length of its history and the perceived ability of the material to last millennia are intrinsic to my work.