Red Lacquer for Future Attachment Painting

My works are made by sealing warps of string with layers of paint, until the paint supports the string, and the string in turn supports the paint. Areas of string and paint are then cut away by hand, exposing an archaeology and leaving behind patterning which might nod to both decorative networks and systems of information, or language. This process is one of my own devising and is a relatively simple one, though I am only able to condense it into such terms now that I have come to know it and its capabilities intimately. The resultant works share something with the appearance of textiles or tapestries, being fluid in their composition and possessing a drape - yet where a textile may be folded, worn – behave sociably, in short – the paintings have a built-in fragility which clearly marks them out as not for use. Nonetheless, the work does occupy a discomfiting space between object and artwork, craft and art, pointing outside of itself, perhaps to a broader lexicon which it might soon become part of, or indeed might have been sliced away from.