↓

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.

Please follow me on Instagram. I am reposting works, exploring the things I have made over the past twenty years in preparation for the next twenty years.

→

Reflectometric, 2019
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.






Do Not Touch (Balanced Safety Stanchion)
3' x 1" iron bar, 1/4" solid braid nylon cord, eye-hooks

This work was produced in response to a need to develop a physical barrier to prevent viewers at Catherine J. Smith Gallery from getting too close to the gallery wall and thus disturbing the fragile equilibrium of the Do Not Touch (Counterbalanced Shelves) and Do Not Touch (Counterbalanced Shelves Centered). A cord (attached to one wall by an eye-hook) was threaded through a metal bar (leaning diagonally from the corner of the gallery) to arrive at an eye-hook on an adjacent wall. Pulled taut into an L-shaped form by the weight of the tilted bar, the cord, in turn keeps the bar from falling and, in the process, hinders viewers from toppling the contents on the two sets of shelves. A precariously balanced object protects other precariously balanced objects. Richard Torchia