The Seams 2

In the same way that silence is needed alongside sound to create music, my practice revolves around the play of arranging polar qualities of painting alongside each other in an attempt to compose some kind of harmony within the canvas. In looking at my work, there is no obvious route of understanding or concept. There is no figure, no ground, no gravity. The masking of reality in this way forces the viewer to approach the work in a position where everything is out of context and in order to see what the art can offer, they have to intentionally put themselves at a state of distance from their own partial considerations.

As the eye floats around the canvas, there are subtle elements of the painting that attempt to reveal the idea that two opposing things can very much exist on the same plane and not only can they exist in peace, but they are in fact complementary and necessary of each other; the vibrant and the muddy, the transparent and the opaque. It is in the ‘in betweens’ where I truly hope one can begin to be able to see the lines of boundaries and binaries starting to dissolve.

The work hopes to, in its humble position of openness and ambiguity, encourage the use of imagination in order to see what one wants to see; the painting leaves the ball in the court of the art viewer. However, at the end of the day, the paintings hope to offer more of a sensation over a block of words that one should understand about the work.

The work is placed out of context with the viewer making it arguably difficult to attend to. However, in focusing and trying to see what the work has to offer, the work hopes to engage the viewer and foster a receptive and meaningful dialogue.