My work explores the dynamic possibilities that arise from the use of the body in making marks on canvas. I have a background in dance, and I started by making graphic notes of my observations watching other dancers, particularly breakdancers, as well as experimenting with my own movements as I applied paint to canvas.
It was not my intention to represent movement, so much as to attempt to penetrate the spaces between frames, so to speak, in movement. What happens in the transition between one gesture and the next; what, indeed, is movement; how do we get from here to there?
In a painting, all the gestures that make up the brush and body strokes on the canvas exist at once, simultaneously. This is expressed in a multi-layering of image and pigment. My paintings are made very carefully in this fashion, built up layer by layer, and then sometimes reduced and built up again. The result can often be very complex, it draws the observer into a multidimensional field of action, maybe in a similar fashion to the way that the dancer draws the eye of the spectator in performance. I think of my paintings as performances that somehow stand outside time, where all the temporal elements exist simultaneously, leaving the eye free to explore their dimensions at will, in any order that presents itself, subjectively, to the viewer.