My painting style could be described as randomly spluttering, smudging and squashing colourful paint. My inspiration articulates conscious accidents resulting in abstract and irrational artwork that doesn’t attempt to portrait anything from the physical world that surrounds us. In my artwork, visual attraction is the result of portraying the invisible.
Scanning my paintings at high resolution lets tiny accidental details emerge like looking through a microscope and allowing the viewer to see unexpected textures, while astonishing patterns and three-dimensional shapes emerge from the dark, creating kaleidoscopic formations of contrasting colours.
Once digitised, I process my paintings in the virtual domain, elevating visual perception to multi dimensional and staggered geometry of mysterious microcosms. What once dried on paper, plastic, glass or wood, now appears immersed in the virtual infinity of computer-generated imagery. Yet the imperfection of hand made movements and the force of gravity permeates its digital presence, therefor preserving the true essence of its physical origin.
Paintbrushes are typically used for deliberate action through intention thus depending on the process of thought, and that is what I am trying to remove from my process. Because a tool that relies on a thought defined process usually results in a predictable outcome, and that can be as much of a creative impediment as it might empower projected results. However, for me the fascination happens when thought is removed entirely. The void created by lack of intention is filled instead with random factors that allow things to happen unconditionally and thus cannot be done by thought depending on deliberate action. On the other hand it allows thought to be transcended by consciousness, but it does not derive from the limited boundaries of thought, rather more it implies consciousness.
For this reason my artwork does not involve paintbrushes or fabric canvases. I try to avoid conventional ways of making art. Moreover, braking the pattern of my own habits appears to be a fundamental ingredient of all my artwork. For this reason I don’t mind improvising or trying things I have never done before. I am instinctively drawn towards colours, so I will freely colourise whatever surface I have at my disposal, while I often salvage what others reject; Recycled wood, glass, paper and plastic are among my favourite surfaces. My process challenges coincidence and minimises control because the controller is the controlled, therefor expectation and convention play no part in this artwork.
Gratification happens when accidents and chaos present themselves with vibrant colours of fluorescent, radiant, illuminated and ultra violet striations. I love contrast and I have an eye for microscopic subtleties. Smashed, squashed, squeezed and smudged by hand, or printed with random objects. My artwork evaporates energetic colour that presents itself in electric shades, hues and fades, as well as embedding the underlying snapshot of my inner journey.
Tools of the Trade