Through the act of observing natures mystery
and beauty I have become more conscious of even the most mundane
things in my environment. I am simply inspired by the phenomena
of patterns found in nature and found patterns left from traces
of human existence.
I explore the complex relationship between order and
chaos through pattern regular and irregular. My work is controlled
by a fixed set of rules yet unpredictable in its outcome, a kind
of controlled chaos. Through these experiments my perception of
what I am looking at can change resulting in contemplation.
The media context of my practice ranges from 2-D paper
cut outs to 3-D cut paper installations. I begin with drawing from
direct observation and photographic documentation of patterns found
in my urban environment. I then experiment with reduction, scale,
layering and creating my own patterns. The intricate patterns are
drawn on paper and cut out, this can be time consuming but I find
it a meditative part of the process.
The installations are presented as large-scale abstract
patterns suspended in space. I work with the use of natural and
controlled light to cast shadows. This creates a multidimensional
situation. The results offer the viewer a heightened state of awareness
that challenges their perception.
Although the point of departure of my art is representational,
I have adopted a minimalist artistic practice. I enjoy exploring
the tension between apparent abstraction and suggested representation.
A direct influence on my art is the minimalist environmental art
of the 60s and 70s, Light and Space art and op art.
Most notably the work of Robert Irwin who explored how subtle changes
in an environment can make deep impressions on the viewer.
I combine this with the principles of phenomenology
the philosophy of how the body thinks through
unmediated perception. In the words of the philosopher Merleau-Ponty,
notion of the relation between our body and things.
Or observers, in the words of Robert Irwin, perceive themselves
perceiving. My work continues in these traditions by creating
installations that directly engage with the viewers presence