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Water is central to this work, both in theme and in process. The work consists of 24 panels that have been assembled in a grid. Each panel is a print of oil paint floating on top of water. This process allows the invisible swirling movements of the water beneath to be made visible by the paint that is printed onto the paper. Because the patterns are evocative of the unknown, they promote intuition and contemplation, very similar to the art of Tasseography.

Water is the element that surrounds and connects continents. On land it traces paths like a network of veins. Though present everywhere, it constantly moves and changes. It's usually life-affirming and tranquil presence belies the potential it has to become destructive and unpredictable.

Water is the vehicle for tea leaves in the ancient art of Tasseography. It deposits the traces that for centuries have inspired reflection and imagination, as people look for signs and guidance on how best to navigate an unknown future.

Cloud Studies

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My process is one of discovering as I go along. Over the weeks, as I was drawing, I struggled to make sense of my preoccupation with clouds. The inherent parallels between the physical thing I am drawing and the process of depiction fascinate me. I explored the similarity between the accumulation of water particles into clouds and the collection of multitudes of pencil lines into cloud- like forms. The last step was to assemble the 108 tiny particle drawings into another cloud- like composite.

Clouds are conventionally depicted as dreamy and full of mystery; landscape's "chief organ of sentiment" John Constable. Yet we are confronted with images of clouds of violence and destruction emanating from bomb explosions, machine guns and other man-made disasters, as well as volcanos and rampant fires from natural disasters. Juxtaposing these contrasting images could be a way of reconciling the poetic and the traumatic in our daily lives.

Empire in the Inkpot

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Think, 2014
Ink and gesso on paper (610 x 430mm)

Mapping Matrix 1 and 2

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The images are arranged in a matrix or grid like structure. “Matrix” means the point of origin or creation, from “mater”, mother or womb.

The forms work on an abstract as well as a literal level, as they are evocative of the fractal patterns found on a microscopic scale through to the macroscopic scale. We see these patterns in electron microscopic images at nanometre size, of diatoms, mould, bacteria; in aerial photographs of branching rivers and folding mountains; in satellite images of cloud formations and even in NASA images of space.

It is through survey and juxtapositioning images on different scales that we are able to recognise the patterns and make the connections.

Holocene 1 and 2

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Holocene means “whole” and “recent” from the Greek words “holos” and “kainos”. It is the name for the current geological epoch which includes the impacts of the human species on Earth’s ecosystems.

The images are arranged in a grid and represent land in various stages of collapse. The creative process of piecing together different aspects to find links and patterns, is much like the analysis and synthesis of information in a survey.

The speckled age marks and sequencing of images suggest a kind of time lapse. The images and fragments of text indicate frozen actions such as explosion, avalanche, burning, crumbling. They are the same actions on the land caused by global warming and as a result our landscape is changing as we watch.