Through my explorations I question the fidelity and validity of our personal histories and our perceptions of them, which in turn challenge our concepts of personal identity and self. Our experiences, as remembered by us, are fragile and can be readily manipulated; during their retelling we often incorporate false or assumptive elements, which subtly reshape them.
I have been influenced by theorists Henri Bergson and Giles Deleuze, whose writing led me to develop an understanding of how when we remember, we are inventing our pasts, retelling different versions, adapting and embellishing according to our current needs and desires. The act of remembering is an act of creation and is subject to the same influences as any artistic work.
I am interested in the properties of materials and have been exploring how the materiality and provenance of media combine to become the identity of an object. This identity feels permanent, though I observed as I worked with the materials that its subjectivity lent itself to redefinition as it was shaped into new works.
I dissect experiences into elements and draw upon the properties of a variety of materials to represent or evoke them, using processes which distance the materials from their origins. I recombine the elements into sections and layers as wall pieces and sculptures, allowing for constant construction and reconstruction, and facilitating a fluid retelling of an experience each time. Often the work is evocative of some experience or recollection, but when highly abstracted it retains only an essence of its origins, and as such assumes an identity of its own.
I interpret the concept of memory construction in my paintings by exploring how materials react and interact with each other. I create abstract paintings by layering inks, paint, PVA and silicone and other materials on acrylic sheet and board. The drying time between applications, the order of layering and choice of media all contribute to a continuously changing outcome. Each layer interacts with and changes those that precede and follow it whilst retaining its own properties. The acrylic paintings are necessarily created in reverse and with a limited amount of control, making it impossible to predict how they will look until all the pieces are in place. These pieces are viewed from the ‘underside’.