I am searching for the threshold between disciplines of painting and sculpture in the configuration of three-dimensional tactile forms. The process of making sculptural paintings is cathartic and pursues the sense of loss represented in my work. Surfaces initially perceived to be soft are, in fact, hard and are therefore perplexing.  

The use of pigment displaces and subverts the surface, creating a constant slippage between ‘types’ of surface. For example, hard metallic sheens on soft folds, or light consuming shadows within deeper powdery blues, evoke a cathartic resonance between gesture and form between deep brooding blues and light absorbing surfaces.

Pushing against the constraint of the two-dimensional frame, the work’s enfolded surfaces of burnt bones, ultramarine, latex become tactile terrains: their soft appearance yearns to be touched. The marks of their marker remain, but left alone to develop, the folded and pressed materials make their own response. These pieces break down the paint/canvas relation; the movement of the canvas has been allowed to elaborate itself in a way that is gestural and expressive but simultaneously a physical presence.

My practice explores the intersections occurring between painting and the digital media, challenging the prevailing notions around the materiality of pictures. This awareness is expressed through the use of acrylic paint sheets where image and support collide in a unique entity. They serve as a re-embodiment of digital models composed by the appropriation and editing of fragments of imagery coming from the Internet.

The production of these works begins by creating the computerised picture in Photoshop, which I then replicate by painting its inverted image on a glass sheet. 

Because of the nature of my process, I must paint the intricate details on the very first layer of the glass. Once it is dry, I continue with many consecutive layers that end with the background and the support. This procedure reverts the conventional process of painting, allowing a sort of casting of the glass’ flatness. Once the paint/painting gets thick enough, I peel it off from the glass, revealing the image underneath.

This series of work aims to highlight both the illusory representation of the painting as an image and the physical presentation of the paint as an object. It means to combine the painted imagery and visual strategies employed to evoke the digital environment with a new approach to the fine art materials that emerge as a response to the codified light based pictures.

Basement, telephone line, Werther’s Original, ashes, synthetic hair, bendy foam, leatherette, missing shoe, cardboard, newspaper cuttings, rope. Like a doll, I use my body as a prop for expression; a line around my history, blurred between public and private memories, relationships and fantasies. I am interested in work that both belongs and disassociates itself from naming. The uncanny, periphery spaces of human perception; the thresholds to a stage. The moments where a mistake develops a story, the discarded makes beauty, and the human hand connects with the unseen. Partly narrative and partly symbolic of imagined events, my records combine to be the memorabilia of rituals, as well as a tribute to the strange.