When I create these works, the process is energetic and
direct. In all its intricacies and myriad of patterns, each
work requires an obsessive approach spilling countless
hours into spontaneous choices but governed by
self-imposed rules and conditions.
These rules are flexible, and only serve to mediate and
supervise what could possibly result in disorder and chaos.
When I begin drawing there is no initial concept or
resolution in my head in dictating how I will create this
drawing ….the drawing must slowly reveal itself with
intuitive choices and obsessive mark making.
Any artist can ‘lose themselves’ in their work engaged
in an enthralling process, working endlessly on a project
that they at heart care about.
Whether it is obsessively mark making in crippling
positions to the wee hours of the morning or working till
the sun no longer appears in the sky, time and reality only
cease to exist in the background, which in all, is the
beauty of creating art.
Applying this to rag paper contains the image and
evokes a fragility and preciousness of the form, which
also reflects the care in which I’ve taken to perfect the
form.
Contrary to working on a clean surface, carrying this
work onto timber surfaces, allows me to boldly experiment
with materials, line, and tone of mark making. I like the difference and the opportunities I create for myself working between the two, working with such precision, and care with
the rag paper, and the casualness and diversity of working
onto wood.
All in all, creating these works evoke an intimate
experience with the viewer, and myself. It allows for the
viewer to come up and engage with the work looking for
small discoveries and recognition in the forms, to which
