I refer to fragments as fugitive geometry. Rather than holding to the autonomy of a single object, my work explores relationships between parts. This serial approach enables me to discover the difference within repetition as well as revealing the possible within limitation. The choice to work on wood alongside the traditional approaches is to get away from the idea of the precious. The wood-grain acts as a ready-made situation to react against or to complement. I enjoy the implied casualness of these pieces as I struggle to come to terms with their weight as objects.
I choose to operate within the field of painting because of its history of openness. Painting has shown itself to withstand challenges by redefining them as expansions. Rather than permitting changes in the field to be fissiparous, painting permits the simultaneous.