About Me

My practice is a multimedia practice. I work in digital art as well as conventional painting. I often use my own photographs as the main source for my work. The paintings usually develop through an interactive process of “doing” and “looking”. I often have more detail in mind before I begin working, but as the work progresses I find the image becoming simpler. I think it is unnecessary to overload an image with information, as this can be confusing and discursive. In the last year, I painted and printed exclusively on aluminium. I used porcelain varnish as my main medium. I found aluminium’s smooth, mirror-like surface very suitable for the subject matter of my work, which explored the relationship between the stranger and the community that he/she tries to infiltrate. The metallic surface of the painting emanated coldness, toughness and impenetrability. Its reflective quality was also very confrontational: it cannot be looked at closely without seeing oneself. It was challenging to find my own system of expression with the combination of these materials and the subject matter of my painting, as there was an enormous multiplicity of expression and diversity of choice. I liked to utilise straight lines and geometrical forms to create an illusion of control and orderliness. For that purpose I developed a special method of painting which I call PAINTSEE: peel, uncover, paint and see. This technique involved a deliberate process of painting only on designated (uncovered) areas of aluminium. This meant only part of the image was worked on at any one time. I took my inspiration from artists such as Krzysztof Wodiczko, Paul Winstanley and most recently Prunella Clough, Richard Diebenkorn and Agnes Martin. Wodiczko very successfully addressed issues of immigration in his Guests at the Venice La Biennale in 2009. He projected images of protagonists onto frosted glass screens, which gave the viewer the illusion of being surrounded by immigrant workers. Wodiczko challenged the borders which separate Them from Us. Other themes which intrigued me in Wodiczko’s work were his proposal of a transition from immigrant to citizen and the issue of community hospitality. Paul Winstanley, on the other hand, celebrated the imagery of “No Places”; of places which were empty, deprived of human presence but had potential for human drama (my emphasis), as Winstanley himself commented. His typical subject matter was empty lounges, waiting rooms, walkways or passages. These were places where nothing was happening, to the point of banality, but they stirred up the viewer’s imagination, igniting it through his choices of light and colour. Diebenkorn, Martin and Clough also placed great importance on colour. They inspired me with their abstract composition as well as their simplicity of expression.