New Language (2016/17): These paintings are populated with an invented symbolism, of large eyes, geometric shapes, animal forms and gestural lines, which form a cryptic and self-referential narrative. The flat, bright, graphic imagery occupies a space of tension between apprehension and abstraction, meaning to evoke a kind of knowing without comprehension, as though we are unfamiliar with a language, but understand something of what is being said in the rhythm and cadence of the words. These paintings are composed of many layers, with shapes being painted and repainted on top of each other. These layered shapes create a sense of rhythm in the compositions, while the gestural swoops, and thick, flat lines suggest rapid movement. Like a strange, looping conversation, these paintings are meant to suggest moments of apprehension and clarity amid general noise and chaos.
I Can’t Sleep (2016) is a series of paintings which were created during a summer-long period of insomnia. Composed of thin lines, drips and quick washes of colour these watercolour paintings feel loosely associative, although they are attempting to recount a dream. Drawing on the ephemeral imagery of dreams these paintings become visual metaphors, where disparate images and ideas combine and resonate with one another in unexpected ways. Throughout the paintings patterns and tiny details are repeated and warped - a repeated motif moving between familiar and foreign, creating a sense of strangeness and unity among them. The paintings are meant to evoke the shadowy feeling of not being able to sleep and were almost entirely painted in the middle of the night.
Sites (2015-16) are a series of paintings that examine the idea of texture, rhythm and structure through layered, repeated marks. Each work, or site, becomes a location for the accumulation of marks, and a record of emotional state and obsessive mark making. Each piece feels vaguely familiar, perhaps a construction site, a forest floor, a rocky outcropping, however the works resist these physical references prioritizing a visceral experience of mark over a coherent composition. Each site is only a location in so much as it is a collection of particular marks and gestures over a particular period of time.
Hunter Saints (2014/16) Are a series of paintings that explore the intimacy between hunter and prey.