Collisions are intriguing because they are the juncture where two things meet and new energy or the possibility of a third thing is created. The work examines collisions on a spiritual, political and purely physical level.
The intention behind the work is similar to that of a Cartographer, mapping unknown territory. With the intent to map out the unknown, the subject becomes a third space. A space, arisen as a result of the collision. As a visual representation of this third space, the work is a road map of a primal landscape that reaches to the deeper levels of our perception and feeling. In any given situation it is omnipresent, perceived and felt, yet rarely seen directly.
A creation space exists between nothingness and thought. This is the level where thoughts clash, collide, merge and give birth to something new. The seeds of all thoughts, ideas and inventions. The space is more often experienced and felt rather than ‘seen’. How can this juncture, the third and often ‘invisible’ space in a collision be represented?
ABOUT THE CRUSHED PIECES
The crushed works represent collision space in a dimensional manner.
The crushed linen canvas pieces are a subversion of traditional painting. The ingredients in a painting – paint, canvas and stretcher bars are challenged. A foot in the known, a foot in the unknown. Not a ‘collapse’ of tradition but a ‘crushing’ or transformation of a painting.
The process of creating the work is a constant tension between control (of technique) and flow (giving way to expression).
TRANSFORMATION – TOOLS OF PERCEPTUAL TRANSPORTATION
“Transformation” is a recurring theme.
As a child I would stare into or at one thing for a very long time until my perception started to shift. I noticed that after a while I seemed to be transported somewhere else. A blade of grass or the reflection of my eye up very close in the mirror would cease being the object that I knew it to be and become a means or a gateway into this slightly altered unknown perception.
I am interested in the choices that people make when deciding to surround themselves with or interact with particular objects. Objects are given power when they become part of our lives. The relationship is symbiotic, we project onto an object and it transforms, then in turn we transform. Take for example a car. A car is a highly functional “Highway Avatar” but it is also the most abundant form of personal sculptural expression in the world.
Based on the discovery I made as a child where I found that everyday objects have a secondary function as modes of perceptional transportation, I create work that has a stated intended PRIMARY function as a perceptual shifting tool.