On the edge and before the Pink Martini Painting

My translations from objects, built structures or human observation verge on the surreal and combine traditional media and handling with the found, absurd, playful and weird. Translating discarded objects and articles that hold an obsessive mystery for me I work to stress or distort to give them a particular emphasis and call up the unexpected. Layers and experimentation reveal inverted ziggurats of doner kebab, a melancholy broken chopping board, or the arpeggios of the reefs and inlets in a grater. These tragicomic residues of human activity are rooted by lively anthropomorphic drawing which endows the image/object with an energetic and slightly sinister personality of its own. I try to imagine the inside of the object, what it might feel like, its weight, its smell, its texture, its heat and its volume. The relationship between the main forms and their field is important. I work thinking of the paint physically as the subject: The object becomes an eloquent and flexible vehicle. Through a medium-led investigation the object is enfeebled by gravity but vitalised by the act of description. I paint with the convulsiveness of drawing claiming intervention through constructive simplification. The economy and purity harness a plastic expression and lace the emotional centre in the picture itself, on and in its surface. I want the viewing of my painting to be an imaginative experience of forthright realism.