My practice is rooted in painting but stretches across ceramics, screen printing, casting and 3D printing. I use the format of the multiple to question histories of painting and the traditional myths of display. The multiple forces the eye to move in and around, to collect up disparate elements in order to make a whole. It both creates and disrupts narrative; through its very nature it stops painting from becoming static and introduces an instability in the work. I want this to allow the work to remain open, fluid and permeable in order to help to create the conditions for change.
I use collage elements which extend off the surface of the canvas and onto the wall. This begins a conversation with the space that the work inhabits. The work slips out of the picture frame and leaks onto the wall, the separation of the aesthetic (the art object) and the non-aesthetic (the space) become blurred.
Each painting holds a trace or the possibility of another painting. My work asks the viewer to consider what painting is, what visual language is, how we assimilate signs, how we build our identities. I believe that all visual experience is an exchange between subjectivity and historical transformation. Different sets of objects actively bring differing histories and relationships. We do not experience this passively, rather this experience is integrative, we are bonded to these experiences and to those around us.