charcoal, pastel, hahnemuhle paper – 80x60cm – 2006
I am interested in the possibility of a static two-dimensional surface conveying a sense of movement. a sort of humming or vibration that appears to arise from within the composition. Limiting the palette to variations of white and grey, I worked slowly and allowed the form to arise. There is a sense of becoming. Of a spaciousness slowly revealing itself over time. The viewer is invited to create their own meaning from the work.
charcoal, pastel, hahnemuhle paper – 60x80cm – 2006
A long term interest in Daoism and tai chi practice drives my search for harmony and balance, and the resolution of duality. The two floating forms hover above each other, simultaneously dissolving into and emerging from an undefined field. The dual aspects reflecting one another as they transition from light to dark through a hazy atmospheric field.
charcoal, pastel, hahnemuhle paper – 60x80cm – 2006
Nimbus is defined as a luminous cloud, an aura or a halo surrounding a supernatural being. Through many cultures, the circle is a signifier of perfection, wholeness, and completion. In these diptyches, the circles fo not join evenly, creating a tension, and a sense of moving towards a resolution and wholeness. The process of creating the gradations in tonal value was a long and slow process, gently working the charcoal and pastel using my hands in direct contact with the paper to create an illusion of subtle depth and ambiguous space.
pigment, semi-precious stones, mulberry leaf paper, perspex – 34×15.5x2cm – 2015
The elliptical form is a primal, archetypal form that holds many interpretations ranging from the womb, the woman, the human aura, healthy blood cells, and the orbit of the planets are also elliptical. Both on micro and macro levels this form is somehow familiar. Not as perfect as the circle, it is more human. In Hinduism, they refer to it as the Cosmic Egg, the source of all being. I liked the idea of exploring this form as an icon, a totemic form referencing multiple meanings. I worked firstly with mulberry leaf paper to crate the substratum, then overlaid it with multiple layers of iridescent and pearlescent pigments to create small totemic forms for contemplation.
pastel, hahnemuhle paper – 76x58cm – 1999
I love to pare things back to their essence, using subtle gradations of colour and an undefinable internal luminosity, to evoke and explore notions of time and space. The making is very process oriented involving the building up of a richness of colour through multiple layers of pigment. Across the centre is a horizontal line, which is soft at its edges so that it appears to hover between, rather than separating the two central bands of colour. The lack of compositional boundary implies something larger and more expansive, as if suggesting something more infinite.
