I am interested in notions of memory and not-knowing as methods for approaching painting. Critical to this thinking are predetermined actions set against the potential of active eruptions of moments at which the activity stretches into a space that is not-known, where actions are affected by the activity of painting. Momentary gestural action delivers a timeless desire that becomes one with another, sought within an instant through intuition and improvisation. The sensory apparatus makes this possible, makes textural surface and surface of emotional sense an extended moment of absolute proximity and distance, all at once. Within this method, I utilise motifs as a precursor to the indeterminable, through which the real, or that is to say reflections of the real, become entangled within abstract environments embedded within the surface. This all happens through the activity of painting and constructs a liberated space of complexity; I would determine this as a space of familiar unfamiliarity.
