Playfully reacting to environmental tensions alongside a compression of documented memories, I recognise how my bodily functions have a grasp on my painting practice and toy with strategies of humour and gesture. Contradictions are at the centre of all my works adjacent to the theme of timelessness.
I pull a microscope on my spontaneous approach by exploring my space identification in-between Landscape and Figuration, creating pulsing scenes and stories with multiple levels of symbolism that simultaneously gut into and peek out, leaving no conclusions. Seeing each piece as both linear and in clutter with others, the paintings can communicate through reoccurring abstractions or wordplay in titles.
Out of impulse, I started calling my paintings ‘Landscape Figures’ and despite that being a combination of the two words, it is not about that kind of force. More so a mocking force in-between where I make these functioning other-worldly spaces in an unfixed state without containment or restriction. I see each piece as having its own movement, weather, and everyday tasks in no hierarchy and lean into the landscape being the figure and the figure being the landscape.
Both inside (bedroom) and outside (beach) figures adopt animalistic-like qualities laying on surfaces in which they dilute into and elevate out of. The movement not only acts as a kite but also like pulling a bed sheet on its four corners. Shifting and sticky, soft and salty, bitty and elastic; a cyclical refresh of destruction and construction.