Red at Last

My work has roots in psychoanalysis particularly Freudian theory, it is about the unconscious and sometimes blind folded mark making and its implications. It also speaks about visual memory through the process of layering, the constant application of paint over paint speaks of the construction of memory how some things are lost and replaced by others and in the destruction of the old there is a sense of re-birthing and creation of the new.

In a sense my paintings are becoming a mental space for my thoughts and emotions both conscious and unconscious. These two sides of my being are constantly in conflict with one another. The canvas allows for me to resolve my own mental issues and in a sense each painting is a little part of me.

My marks are heavily influenced by forms of writing such as automatic writing, calligraphy, graffiti and the archi-trace. Readings, particularly by the likes of Descatres and Derrida. My work speaks of pre-ontological and primitive ways of making mark, of the moment of spontaneity and wants to express gestural moments unhindered. I am interested by the notion of taking something not corporeal and making it physical such as dreams, thoughts, emotions and memory. 

I am interested in the page format which is rooted in my obsession with forms of writing, particularly the fold in the middle. This has lead to works which speak about the void or Plato’s “Chora” which describes space, or a place in space; and the environment in which forms materialize.  It can be said that my paintings originates from “Chora” and are also representing it in some cases. The void also speaks to me as a limitless space such as a mirror which to me almost creates another parallel existence. I am interested in reflecting myself in the canvas both metaphorically and literally and the narcissistic qualities of the reflective surface. The void also has very phallic implications and has lead to an interest in ideas of feminism such as the theories of Gilles de Leuze or Helene Cixous.