My studio practice is all about exploring the materiality of colour. I do this through engagement with my body, my brushes and paint pigment. I am inspired by the notion that a painting is more than an image, that it is a presence.
My paintings are drawn colour and are a choreographic record of my body’s movement. My gestures bump up against the edge of the picture plane and move with a consciousness of it. The brush width is expressed, as it is— a ready-made. My brushes are not inert tools but are a dynamic medium through which the pigment is transmitted.
There are many qualities of colour that are not visual, based in the materiality of the paint and pigment properties: particle size, oil content, opacity or transparency, thickness or viscosity, finish (shiny or matte). These material qualities are essential in achieving the visual; they are the non-visual fuel which make the visual engine run.
My knowledge of pigments or the thingness of colour has helped me to achieve the qualities of light that I am after. I would describe this light as contemporary: neon, techno, or that of rear-lit imagery on a digital device.
So, colour is never just colour in my work. It is always attached to the physical whether that is my body, my brushes or the paint.