The work is exploring the politics of representation through the play and modifications of pictorial conventions. Influenced by the historical context of painting, images become dematerliased, through digital adjustments, allowing the gestural mark to be pushed to its boundaries of representation. Producing images into textural notations and drawing scripts, allow screens to record the dissonance and interference of the noise revealed in the abstracting of the picture. This paired and placed upon a fabricated surface such as carpet and dyed calico canvas resulted in a tense surface complexity.
There is a dilemma over the authenticity of image representation and the ethics of materials here.
Lockdown adapted the paintings into more D.I.Y or lo-fi ways of exploring surface complexities. Print’s ability to copy, distance and appropriate the image was further explored by a use of contact emulsion printing, silk screening and cut and paste collage.
Prior to lockdown, the paintings explored the boundaries or limitations by which the drawn or painted mark could be tested and pushed beyond representation of illusion and actual materiality. With the intention of producing complex surface relations, the familiarity or original photographic form of an image was pushed to representational limit. A tension lies between acting as the creator and the finding and searching speculative process of productional mark history. Andrew Benjamin’s notion of oncology has given me sensitivity into the metaphysical workings of time, space, gravity revealed in surface.