Chance and order, chaos and control are central to my work. This is linked to an interest in chaos theory which is having an impact in areas as different as health, education, and the stock market. Could it also be relevant to the arts, throwing light on the dialogue artists have with their work?
In my work a painting is carefully planned but often changes as it progresses. There is a struggle between maintaining the coherence of a piece while allowing enough anarchy to develop to keep the work fresh. Accidents are embraced, sometimes taking the work in a new and exciting direction.
Starting with simple shapes or symbols these are then activated, disrupted or become part of a narrative. They may be buried, blurred or invaded by gestural lines. The way colours interact is important. Vibrating boundaries are used to heighten drama. Repetition, sequence, layering and process all play a part. And although chance is important, it's about testing the limits, not disregarding them. It's searching for that elusive point of oscillating tension somewhere between chaos and order where new and undreamt of things can emerge.
In the latest series of paintings swathes of flowing colour are about to come to an abrupt halt or are trapped. Sweeping gestural marks are sabotaged by a solid, precise geometry. There is a confrontation of opposites. Fluidity and solidity, chance and order.
Collective Studios, Dolphin Square, London, 2011
Elements, Candid Arts Gallery, London, 2010
Connections, East Gallery, London, 2010
Perspectives, East Gallery, London, 2010
Art Bin, South London Gallery, London, 2010
Presence, The Crypt Gallery, London, 2008
Two and a Half D, Brick Lane Gallery, London, 2007
Subcutaneous, 106 Leonard Street, London, 2006
Out of the Blue - Into the Red, Mary Ward Centre, London, 2004