2015, Folly, Egg tempera on antique chestnut, 700 x 700 mm.
Drawing inspiration from historical materials and methods, my research concerns how my practice can be reconciled and belong to 21st century painting but maintain connection to the past. My deep appreciation and understanding of a painting’s anatomy promotes a modus operandi that blurs the boundaries between painting and sculpture; straddling the visual-tactile divide; and exploring the interface between physicality and ‘virtuality’.
This preoccupation has led me to put historical paintings literally under the microscope to breathe new life into them for a contemporary audience – Reinterpreting the topography of patina and craquelure by transposing their imagery into new media and works. My enquiry is not as an historian in search of iconography, but as a maker; looking for passages of paint, gesture of line, subtleties of surface that offer possibilities and impetus to the creative process. Using this approach I try to give voice to imagery created, but hidden, in the shadow of the past.