February-June

STUDIO

Drawing Practice-The drawing practice gives me a chance to bring my own interests and gather visual stimuli and incorporate the two. I value drawing for their immediate responce, for the insight they offer into the process of the creative ending. In drawing we seek the truth, not power. drawings are based on experimentation, happy accidents, surprising interactions, it can be a manufactured process of working. This is the foundation of my studio. Drawings are produced in series or groups. Rules are established by keeping to the same scale. Drawing gives me a distinctive voice, the drawing practice informs paintings. Drawing may battle between content and form. This elevates trial and error to the rank of my aesthetic principal, this creates my own unique visual language. Drawing has a vital importance in my practice. it is an essential vehicle addressing and interacting with the work, by looking for for unexpected outcomes, rather then handsome results. Great visual potential can be found in accidents and mistakes.

Painting Practice-The paintings are an extension of my own physical presence. The process and manufacturing of the painting gives me control. Having a sense of influence and hold over the works help maintain devotion, focus and discipline within the studio. Painting are prdominately from the drawing practice, either developed from certain works or duplicated from specific ones. Compositional aspects are considered, colour- finding colours the interact with each other that contradict visualy is interesting. Tonal feature can be generated from the drawing works. Understanding between works is a conscious decision and these banded the paintings. Works seem similar and the suggestion of not pulling the same stunt twice with the paintings is a dominating train of thought. Application of the media can be a simple decision. Choosing the media has already been established through the drawing process. Replicating the media on larger scale works is the problem, and when established, I execute the application of the media well. Form can be a battle, time and decision making are slow. The shape images may seem quick and simple, they are to counter balance of the fast, quick application within the works. I described these forms as, slow and steady wins the race. Format is a success. Scale is not an issue for me the deal with. I conditioned myself to work with confidence and diligence of the size i choose. Larger works are always a relief.

‘A painting did not necessarily have one life, it has many’ Charlene von Heyl.

Some works have quick paint application, embrace what leads to visual intregue-including failure. Works may have no clear truth or falseness to them. I would like to create new visions, flipping out fresh tasks, constructing obscure paintings that intrigue and thrill the curious. Every painting may contains many drawings. The painting process relates to control and may not work quickly, but some works may look fast. Decisions are made and the paintings are results of previous decisions worked through from the drawings. Paintings can be an exchange of ideas and options, they offer ways of seeing something strange. I look for visuals that can give you a sense of idiosyncratic capabilities, emerging visuals that were never meant to be together.

‘My painting can be a depiction of “fuck-ups”, that come from my drawings, I take the best, visually satisfying bits, then develop into paintings. And this process, makes the painting successful’ -Tira Walsh.