I am interested in exploring the materiality of colour. I do this through engagement with my body, brushes and artists' pigments. I am inspired by the notion that a painting is more than an image, that it is a presence. In pursuing a material-based logic, I work in a co-operative relationship with my studio materials and tools rather than dictating from above what they should do according to theoretical concepts.

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— an assisted 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 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 phenomenon of light in a painting. My knowledge of pigments or the thingness of colour has helped me to achieve the qualities of light that I am after: neon, techno, or that of rear-lit imagery on a digital device.

My realization that colour is matter, with intrinsic material qualities interdependent with myself, has provoked me to consider all elements of my studio in a similar way. I see myself as a facilitator in the studio working with, rather than over, non-human agents in my studio. My activity, tools and materials are all equal players in a matrix of dynamic matter.

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. Working with the materiality of colour has led me to consider all of the non-human elements in my practice in a new and equitable way.