UNTITLED 

material and semantic layers.

Each state of the image emerges from another. Embossing, abrasion, discolouration, tide lines and typographic fragments are as much a part of this context as pigment, binder and the application of paint. Painting begins within a structure that is already organised materially and semantically. Each reworking changes the relationships between the existing inscriptions. The image develops through these shifts.

During the working process, states emerge with their own duration. Pigments follow the movements of water. Moisture changes the tension of the fabric. Fibres absorb colour differently. Areas of density form, while others remain permeable. Drying continues the painting process, carrying decisions forward in places where the hand has long since ceased to intervene. Material and time become active forces within the image.

Each reworking rearranges the existing states. Embossing recedes, tide lines become visible, discolourations shift in emphasis, and layers of paint take up earlier gestures and carry them forward under different conditions. The surface preserves these changes as a shifting structure of different temporalities that remain active simultaneously, rather than as a succession of completed layers.

The works develop in series. Recurring painterly decisions encounter supports whose material behaviour never repeats itself. Each work develops its own order from the conditions it finds. The series grows as a constellation of individual states of the image, whose relationships expand and shift with each new work.

The pictorial surface is neither an endpoint nor a final result. It remains a site of ongoing change, where material and semantic inscriptions intertwine and alter one another. Painting unfolds as an open process in which colour, material and time jointly bring the image into being.

Series begun in 2010