My specialism is lateral thinking, resolving the complexity encountered in the world with reductive poetic logic. I intertwine commercial and cultural practice: responding to the paradox of daily life and the complexities of project assignments. I seek focused solutions that feel inevitable. I get there by starting at the beginning, asking why, what if… then making sense of the things I find with radical acceptance and by embracing truth.
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210mm x 297 A4 glass clip frame, acrylic paint
Edition of 60 signed and numbered copies, each unique
The clip frame backing board is marked in pencil, mapping geometric shapes and proportions relational to its dimensions and the four slot apertures. Colours are emotiomaticaly selected and combined, in rhythm to the mantra internalised, and applied at the intersection of lines. The final composition grows from the weight of the glass and the gentle squeeze exerted by the frames clips, spreading and connecting colours between the two surfaces. Made to be displayed in transitional spaces, to remind the viewer to be fully present.
Note on viewing: Each painting is its own universe, select one. Breathe slowly and deeply whilst observing the painting. Gradually let your gaze go out of focus. Meditate on the centre of the painting, allowing its geometry to bring your mind to a state of balance.
A selection of 150 Concetto Spaziale…
140mm x 225mm, 150 pages
Published in 2009 by onestar press
Do you know that canvas you see in every permanent collection in every art museum around the world that has been slashed by an artist called Fontana? There are many of them, each a slightly different size, with a different length slash. When encountering them I peer through the slash to the dark shadow, ‘concetto spaziale’, adjusting my eyes to the light that reaches the gallery wall.
I wonder how many canvasses Fontana slashed, and how they would look displayed from the longest to the shortest? The book aligns and extends these voids reproduced one per page from longest slash to smallest each reproduced at aspect ratio 1:12)
Thank you Louise Naunton Morgan for production assistance.