11 settembre 2014

My practice occupies the rift between essence and appearance. The unbreachable divide between the phenomenal and the real forms the basis of Object Oriented Ontology (OOO), a recent branch of Continental Philosophy. My drawings mine these new territories of thought, with the act of drawing from observation operating as a process of sustained phenomenological enquiry. An opaque painted layer hovers over a violently churning underdrawing in charcoal. In an uneasy marriage of form, the paint layer represents the phenomenal, the dazzling and seductive appearance of things. Below this sits the enmeshed and intrinsically unknowable essence, the real, always just out of reach.

In a contradictory act of simultaneous attunement and defamiliarisation, I dig through layers of appearance in search of underlying form. Things and places are treated according to a flat hierarchy, reduced to edges, planes, shapes and contours – the sparkling lines where positive and negative space collide. Usually repetitively drawing from direct observation to create extensive series around a single subject, those qualities that refuse to be drawn are captured instead in photographs and reductive text works. Stripped of their ordinary contexts and meanings in a conscious departure from conventional treatment, recognisable things are reduced to underlying formal qualities. There are no fictions or narratives here. This is the sharp edge of ‘from life’ engagement free of the closures of representation. It is a process of decoding and translation, of mining the rift between essence and appearance, the space in which things begin to fall apart.