My work takes as its source material light patterns and shadows that fall onto man-made, built environments. A great deal of my imagery is taken from domestic settings. Light falls onto walls, steps, tables, mirrors, TVs, etc and is refracted, causing shadows that, once abstracted, can be read in a myriad of ways. By focusing in on a small section of the original imagery, the viewer is forced to decipher what is there and the interpretation is left open.
My choice of technique in some of the works – smooth, perfectly hand-applied paint and distinct taped-out sections – reflects the almost machine-like perfection that we demand of ourselves as well as the isolation inherent in living in contemporary Western society.
The Green Error Complex paintings reflect on this quest for perfection as well as relating to the built environment around us. This is refracted, repeated, pared down – aspects of our compartmentalized lives thrown up at ourselves, almost like seeing parts of ourselves reflected in a broken mirror.
In some of the more recent works, such as the Mark series, the lines of delineation between sections are broken, destroyed. In this way, the sections blur together, commenting on the impossibility of pure separation between any aspects of life, and also how it is often not clear where one thing ends and another begins.
