I’m interested in what it means to be in our flesh — where the self begins and dissolves, and how we exist in relation to the world we find ourselves in. After a period of intense physical illness, my work is firmly rooted in the body, and develops in a negotiation between the body as maker and as subject, with material as collaborator. 

The studio is a place of encounter and enquiry. I work on the floor and against the wall — horizontally, the canvas becomes an impulsive bodily encounter; vertically, it offers distance and reflection. Working on multiple pieces at the same time, sometimes painting with my fingers, the non-dominant hand and my eyes closed, I try to disrupt and disorientate myself out of habitual control, not to abandon intention but to discover what’s below it. I destroy and erase with the hope of creating the conditions in which something else can emerge.

I’m interested in the threshold where control and intentional effort come up against impulsive, instinctive and accidental processes; the tensions that arise don’t just generate the work — they are the work. This practice sits within a post-abstract-expressionist tradition; one that treats process as a way of thinking, and making as an improvised collaborative encounter between body, image and material. 

For me the body is a way of knowing — a way of reaching what I can’t describe.