The paintings on fabric are 5 x1.5 metre and are made on hand woven cotton, polyester or silk.
In painting on fabirc, as opposed to paper or canvas, it becomes possible to let the painting leave the wall, and engage in novel ways with the of the world around it. The fluid nature of the fabric means that light can also interact with the painting in a different way- it absorbs it, moves it, shapes it and thus it becomes a key component of creating the image.
The paint is applied whilst the fabric is folded. The pigmet then trickles through the layers of cotton and a structure emerges as the cloth is unfolded. In both the process of leaving the traditional place of the wall, and it creating strucutre through the nature of the folds of the material, the agency of how the painting is made and viewed is changed.
While the light in western culture is always a heroic one that fights darkness and that for centuries did not come without direction, the light in Asian cultures is always broken to a state of absentness. In the finest cathedrals the light never fails to fall from the top and must be muted as the inner is regarded to be completely secluded from any worldliness. The inner sphere as sensual and spiritual as it may be, is for the western culture one that eliminates all outside interruptions. Likewise the Asian perception of inner space as a form of absence is eloquently drawn asymmetrically, with flat appearance, muted colours and blankness of space; it is like meditation, a light that pushes you towards another consciousness. Much of the traditional understanding of abstraction is based on immateriality, but this leads my viewer down the wrong path.
My work is not about absence. The inner space I create through my paintings is not one of mediation, instead it is one of focus, of touch and being in touch. My art is a physical process, intuitive, spontaneous and emotional. I move the painting of the wall to give it a different, maybe more practical use. Like the lump of clay that becomes art at the point when it is not anymore, just a lump of clay but not the shape of cherry or apple, the painted fabrics hang on the wall or a washing line, without being painting or washing and allows us to see markmaking in a new way.
In painting on fabirc, as opposed to paper or canvas, it becomes possible to let the painting leave the wall, and engage in novel ways with the of the world around it. The fluid nature of the fabric means that light can also interact with the painting in a different way- it absorbs it, moves it, shapes it and thus it becomes a key component of creating the image.
The paint is applied whilst the fabric is folded. The pigmet then trickles through the layers of cotton and a structure emerges as the cloth is unfolded. In both the process of leaving the traditional place of the wall, and it creating strucutre through the nature of the folds of the material, the agency of how the painting is made and viewed is changed.
While the light in western culture is always a heroic one that fights darkness and that for centuries did not come without direction, the light in Asian cultures is always broken to a state of absentness. In the finest cathedrals the light never fails to fall from the top and must be muted as the inner is regarded to be completely secluded from any worldliness. The inner sphere as sensual and spiritual as it may be, is for the western culture one that eliminates all outside interruptions. Likewise the Asian perception of inner space as a form of absence is eloquently drawn asymmetrically, with flat appearance, muted colours and blankness of space; it is like meditation, a light that pushes you towards another consciousness. Much of the traditional understanding of abstraction is based on immateriality, but this leads my viewer down the wrong path.
My work is not about absence. The inner space I create through my paintings is not one of mediation, instead it is one of focus, of touch and being in touch. My art is a physical process, intuitive, spontaneous and emotional. I move the painting of the wall to give it a different, maybe more practical use. Like the lump of clay that becomes art at the point when it is not anymore, just a lump of clay but not the shape of cherry or apple, the painted fabrics hang on the wall or a washing line, without being painting or washing and allows us to see markmaking in a new way.