“Where do you put a form? It will move all around, bellow out and shrink, and sometimes winds up where it was in the first place. But at the end it feels different, and it had to make that voyage.” Phillip Guston
My dreamlike paintings transport the imagination to another world - alive with playful narratives and strange, unexpected figures. Often unpredictable, the works veer between the domestic and dollhouse scenes to unnerving fairy tale scenarios. Like interfaces between the interior and exterior world, my landscapes offer neither a place of captivity or sanctuary. Instead, they take the eye on an endless loop around dwellings that morph and collide with the (un)natural world; and with their surreal energy, lock the viewer into a disconcerting array of ever-changing visual elements.
Influenced by contemporary pop culture, children’s books, medieval architecture, Indian miniature paintings and the masterpieces by Hieronymus Bosch, I collage such disparate motifs to create unique idiosyncratic worlds that evade any single interpretation. With bright chromatic contrasts and abstract patterning, the scenes refuse to resolve into a time, place, or even coherent pictorial space.
Narratives evolve organically and over time the landscapes, dwellings and cast emerge through intuitive responses to mark-making, pattern and form. The actors tend to be lone figures: often observing, sometimes predatory and at other times lonely. The viewer is invited to construct their own story.
*’Paint What I Want to See’, 2022, pg3)
My dreamlike paintings transport the imagination to another world - alive with playful narratives and strange, unexpected figures. Often unpredictable, the works veer between the domestic and dollhouse scenes to unnerving fairy tale scenarios. Like interfaces between the interior and exterior world, my landscapes offer neither a place of captivity or sanctuary. Instead, they take the eye on an endless loop around dwellings that morph and collide with the (un)natural world; and with their surreal energy, lock the viewer into a disconcerting array of ever-changing visual elements.
Influenced by contemporary pop culture, children’s books, medieval architecture, Indian miniature paintings and the masterpieces by Hieronymus Bosch, I collage such disparate motifs to create unique idiosyncratic worlds that evade any single interpretation. With bright chromatic contrasts and abstract patterning, the scenes refuse to resolve into a time, place, or even coherent pictorial space.
Narratives evolve organically and over time the landscapes, dwellings and cast emerge through intuitive responses to mark-making, pattern and form. The actors tend to be lone figures: often observing, sometimes predatory and at other times lonely. The viewer is invited to construct their own story.
*’Paint What I Want to See’, 2022, pg3)