WORK

There are three paintings in the series. They are structured with reference to the digital codes of computing, scanning modes and the colour process of video and television. The QR codes I used for the grids were taken from demands for French television licenses.

The Sequence drawings start with the making process aiming for an overall compositional balance and to reinforce the sense of surface. I construct rows and squares that are not drawn out but apparent. The format comes from “found systems”, that I notice in my environment.

The Sequence paintings follow on from the drawings. They are informed by complex visual fields such as meadows or sparkle on water or rustling leaves.

Folds evolved from the process of making and the nature of the materials. The disruption of the painting surface in the paper versions reset considerations of the picture plane.

The displacement paintings involved a change of palette from fully saturated hues, which had dominated the previous decade, to one of tonality but still maintaining a flat-bed picture plane

These drawings continue from the Sequence drawings and also start with materials and process but incorporate amorphous and unstructured shapes, again a function of process.

The Correspondence paintings were made in dialogue with Nicky Hamlyn’s film of the same title.

The found systems, which determine the "grids", come from QR codes, (visual signs of endless reference). My intention is to make the image optically dynamic; to generate a restless surface that equates with movement, flicker, shimmer as it might appear in our daily visual experience.