My work is currently involved with a three dimensional exploration into painting.
Bringing construction into my practice and using traditional painterly surface materials such as watercolour paper and linen initially, the work contests not only if, it is to be painted in the first place but how it might be painted and whether it is in fact, a painting.
Through challenging the traditional idea of painting being a creation on a 2D surface, my work is also looking towards a minimalism in painting, a bareness of information informed partially or instead of paint, by the effects of natural and artificial lighting and shadow to ‘colour’ and bring alive its form. It is also the perception of this colour, no matter how slight or how intense, that drives my investigation into this peculiar or rather set tradition.
I believe that by challenging and questioning these traditions, by employing the third dimension and the physicality of structure to explore my ideas, I can begin to investigate citing my work in a new space between the boundaries of painting and sculpture.
I am believing that the notion of painting on the 2D surface be a practical one, with its own reasons and histories of which I am yet to unravel and discover.
I am attempting to bring this project to some culpable finale and intend to form the discoveries I make into a 3D journal which may help to re-educate our ideas about painting and the classifications of it – how they came to be and how they are now shifting back into some previous historical formulae.