These monochromatic works investigate variations by ritualistic repetition and arrangement of marks in space within a grid. Individual works explore how the same mark can be repeated to create a field of similar, yet ultimately unique marks. The process externalises a need to organise and categorise emotions and feelings, transforming abstract concepts into a visual conversation between the work and the viewer through an unedited articulation of the artist’s self in an immersive environment that moves beyond the flatness of the surface. An intense sparseness links that which is not there within and around the spaces of the work, as the artist delves into the subconscious.

The use of the grid is akin to a meditative trance slowing and expanding the thought process and beginning a process of removing the “self” from the work. In all the pieces the action of making the mark is clear, whether it is the pen, paint or wax, they are the data left behind from the making process, yet are finely resolved as art. In my work repetition, the process of repeating one specific form or element over and over again, contrasts and is in tension with the grid. The grid acts to order and break the forms while the repetition builds and completes, such that works that initially appear simple and reductive become more complex as one looks at them, a paradox between the drive for simplicity and the complex result.

My process relinquishes control to the materials, removing conscious thought allowing  them to react in their own way, embracing the result whether or not it meets my expectation. The tension between the process and it’s consequences inform the intimate emotional dialogue between the work, it’s creator and each viewer, enabling them respond contemplatively to the textural and value variations within the work. It speaks through that which is absent as vocally as through that which is present.