" I found I could say things with colour and shapes that I couldn't say any other way - things I had no words for" – Georgia O'Keeffe. This statement so eloquently put exemplifies my allure towards abstraction. Within my current practice the issues focused principally involve the temporality of rhythm, form, objects, and materials; conveying distorted interpretations by investigating how depth, negative space, and considered arrangement, can shift perceptions as the viewer moves about the piece and its relationship to the space surrounding the artwork – fundamentally, how the relationship between the viewer and the art itself within whichever environment the work situates is experienced.
My experimentations into the visual and spatial relationship between painting and sculpture are constructed with either wood, fabrics, painting, drawing, and digital painting. These primary materials are often manipulated with contrasting colours used to accentuate the linear forms, large-scale structures and sculptural spaces that involve or reference the architectural environment in which the work inhabits. These large assemblages of complex wall-mounted works in which the separate cavities and negative spaces between the frames and fabric mesh reveal unique abstract compositions as the viewer moves about the piece. I call these ‘chords' and the viewer dictates the ‘rhythm' in which the artwork is perceived. The heart of the subject becomes the interaction amid two and three-dimensional forms, which can be observed via changes in surface, within the structure itself, and through depth, as well as the fourth dimension, which is to say, to activate the viewer, who is set in motion.