I am a multidisciplinary visual artist practicing across painting, drawing, installation and mixed media sculpture. My paintings engage a post-analogue style, employing a shallow surface space and appropriating visual languages programmed in digital media. Formal harmony is impeded by an array of visual languages and asymmetric compositions. The assemblage of styles is synthesized by the viewer’s daily experience in a technologically saturated environment.

A number of employed visual languages draw directly from the digital mark and have been subjected to a double filtering of sorts. Digital visual languages that were programmed to emulate material mark making techniques, such as line and brushstroke, are retranslated into material form. The uniform flatness of the digital screen is rejected in favour of a painterly topography.

The collection of motifs echoes the programming of a search engine. Think searching for “dog” in Google images, selecting image a, then selecting image b from a group of provided related images, then repeating these steps to acquire a collection of visual motifs. Each set of visual motifs is curated using this associative logic. Consequently, context is formed by the interactions that occur between these motifs, producing a thematic network. These interactions, allow for the exchange of cultural narratives associated with each respective motif. Equivocal, the interactions are formulated by the viewer, producing dialogues of varying intensity and thematic networks of information in flux.

The perception of time, accelerated and slowed, flowing and ethereal, nests itself in the core of the practice. Signs of contemporary culture enter into a dialogue with historical painting. The fast-paced nature of the digitally influenced subject matter is juxtaposed against the slow time-based efforts required to produce the dense surfaces. Concentrations of these identifiable visual motifs are countered by ethereal visual languages, removed from time.