My painting style could be described as randomly spluttering, smudging and squashing colourful paint. My inspiration articulates unconscious accidents resulting in abstract and irrational artwork that doesn't attempt to portrait anything from this world.
Scanning my paintings at high resolution lets tiny accidental details emerge like looking at them 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 movement and the force of gravity permeates its digital presence, therefor preserving the true essence of its physical origin.
Paintbrushes are tools used for deliberate action through intention, but tools which define a projected outcome are as much a creative limitation as they might empower one to get the projected results. However, for me the fascination happens when all intentions are removed. The void created can now be filled with random factors which allow things to happen that cannot be done by deliberate action.
So I don't use paint brushes and neither do I use canvases. I try to avoid common ways of making art wherever possible, challenging to be inventive and creative. I don't mind improvising or trying things I have never done before. I am naturally drawn towards colours so I'll happily apply paint to 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, 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 contrasting colours and I have an eye for microscopic subtleties. Smashed, squashed, squeezed and smudged by hand, or printed with random objects. My paintings evaporate energetic colour which presents itself in electric shades, hues and fades, as well as embedding an underlying snapshot of my inner journey.
My artwork speaks what words can't describe, yet it reflects in every way who I am. Now the observer can see in this whatever they fantasise. The canvas is neither half full nor half empty, therefor I have chosen to keep my artwork untitled and instead have just assigned serial numbers which indicate the date of scanning followed by a version letter which indicates the various stages of virtual processing.
In early 2015 I started attending an art class at The Learning Connexion (TLC), where I am currently studying towards a Diploma in Art and Creativity.