There is an engagement with proximity in the work. Proximity in the addressing of space within the paintings and the remove of the painting from the photographic resource. This remove provides the ‘small space of slippage ...where our minds can see to freely-wonder but not obsess’ (Rodney Harder).
Paint becomes its own preclusion not confined to revealing a represented image but its own presence on the surface ‘the painted mark is the thing in itself and the thing it describes’ (Altfest), the pursuit of eschewing a complete adherence to either being important to the work. ‘To remain unsure about when a representation points to a reality outside of itself and when it points back to itself. It is in this place of uncertainty that a painting finds its greatest leverage.’ (Schwabsky)
The paintings are made in one sitting with oil on board. The motif is compressed into a series of gestures. The recent collage/embroidery pieces use shapes from a series of oil paintings made on paper. These shapes are cut out and stitched to the canvas. The colours and shapes are based on subject matter from postcards and photographs from my father's time on Christmas Island in the 1950s. The act of embroidery creates a slowing down of the process and an intimacy in the proximity with the work.