STATEMENT

Rooted in the philosophical concepts of the Plane of Immanence, The Rhizome, and The Theory of Flux, my work seeks to dissolve the boundaries between colour/line/form and perception. The aim is to provide a space where we can come to an acceptance of uncertainty and the unknown. My practice explores the possibility that a painting can demonstrate’s anchient Greek philosopher Hericlitus’s Philosophy of flux, attempting to capture in his words, how ‘the only constant in life is change’. As it unfurls, the painting feeds itself organically, growing into unexplainable spiraling portals. 

Painting is my language to express abstract feelings that transform into a beacon of possibility and a myriad of interpretations.  Finding harmony in an explosion of multi-coloured shades, I use a glass panel as a palette because it is equally part of the painting as the marks made on canvas, the two elements are often exhibited together, with the glass panel overlaid on top of the painting adding another dimensional plane. 

The more you look, the more that is revealed. With every glance, the painting's meaning shifts, this comments on humanity's tendency to seek understanding of the unknown, to label things just so we feel more in control. My art is a practice in letting go. Using Charcoal, Pencil, Ink,  Acrylic and Oil paint, and myself as a catalyst for change, the canvas absorbs its surroundings. I tiptoe on the intersection between painting and drawing, allowing forms to emerge, dissolve, and reconfigure in a state of perpetual motion. While painting amongst the trees,  I engage directly with the environment's vitality—capturing the transient interplay of wind, shifting sunlight, and the dynamic transformation of leaves and shadows on the canopy floor. My pallet documents the dance from luminous zinging highlights to deep shadows and then back again in an instant. Much like Robert Morris, I think what is most alive in art is necessarily fleeting.

Reflective of Deleuze and Guattari's concept of the Rhizome, the lines fall onto the page, into an interconnecting, rupturing and re-forming web, like the rhizomatic network of mycelium where no single element dominates, but all contribute to an organic whole. Illuminating the intricate threads of connections humanity shares with the patterns of the ecological systems. My process led practice not only challenges traditional perceptions of static art objects but also aligns with contemporary efforts to address pressing global environmental issues. My work challenges linear concepts and hierarchical norms, resonating with society's pursuit and need of more adaptive and resilient strategies, contributing to the discussion in a broader cultural movement towards interconnectedness and adaptability.