Theory and practice
The structural material content of clay/stone/wood/cloth give the composition its quantitative sense of supervening elemental forms. Colours pool and form into various patterns as contingent figurative emergent entities are revealed upon a layered matrix of clear casting resin.
It is after being left outside in the dry tropical heat the paint eventually blisters and peels. Particles of dust and organic matter accumulate and are then covered over again with clear casting resin so as to freeze the process. There are two rationales for this expression. The fundamental recent humanistic perspective of capture and containment. This being a homage/critique to the agrarian revolution. Another rationale is the capture of a seemingly random fine-grained state-spaces, as an art practice. It’s the fascination with philosophical modality. That is pertaining to change and personal identity.
The surface is then scratched to reveal underling properties of the accumulations from the environment. It’s the archival impulse to capture elemental forms that is important for my current art practice.
A selection of links that depict works that have led up to my current art practice.
These collections reflect my post India travels that occurred in 2017-2018. There was a real big wet season in the dry tropical region, and this correlates to the beginning phase of mixed media binaries that depicts the unexpected patterns such as being in the tropical dry to tropical wet. The collections than take on reflections of travel, and past themes around human endurance, globalisation, culture and my favourite being to do with the philosophy of consciousness.