DICKERSON GALLERY MELBOURNE AND SYDNEY
This is my second series of figures that act as containers for layers of drawing, colour and texture; vessels that hold anatomical landscapes within. In the work, I think I’m exploring the line between painting with drawing, and drawing with paint: I’m enamoured of the way that drawing onto a surface makes an impression that remains even after layers are added and others worn back. With paint, it can run, dribble, splatter leaving organic marks, weathering a surface or it can be used to define, obscure or erase.
I sometimes think of the work as an old fashioned school blackboard, in the sense that it is worked on, and seemingly wiped clean at the end of the day, But over time, the once pristine black turns to muted grey, revealing traces of the months of ideas, writing, information. In that way, my work is about time and process and history
Last year I journeyed to the Antarctic and it was perhaps inevitable that the place would seep into my work in ways I couldn’t anticipate. Mesh like patterns evolved to represent shattered rocks of the landscape. The slow absorption of the old station buildings back into the landscape, the relentless attack of the weather on the wood, bitumen and steel of their construction, bright colours reduced to subdued tones; with these new works, I’ve moved toward a more muted palette.
Armed with a trusty cake slice and ancient bread knife courtesy of the local junk shop, some days, it feels like my process resembles a spiral without end; rather than creating something each time I visit the studio, I obliterate the previous days work and must start again.