“It’s Out there man. Don’t you hear it?”
Sans Soleil, Dir. Chris Marker, 1983:
Narrator: He liked the fragility of those moments suspended in time. Those memories whose only function had been to leave behind nothing but memories. He wrote: I’ve been round the world several times and now only banality still interests me. On this trip, I’ve tracked it with the relentlessness of a bounty hunter. At dawn, we’ll be in Tokyo.
I am a tourist.
Despite all the equipment and techniques, nothing compensates for the inability to notice. If you take the time, everything is interesting.
Generally, my work concerns itself with the versatility of symbols and signs, as well as the dialogue and descriptive structures produced in the visual and theoretical situations that these forms depict. The work employs vocabularies that quote and question the familiar, the surreal, commercialism, the comic, everyday detritus, the abstract, the historical and the personal. These images are segregated, mutated or married together in the hope of discovering foreign, nonsensical or even liberated territories.
I have more dilemmas regarding what to paint rather than how to paint it. I fear that one day I may run out of ideas.
When it comes to materials and processes I don’t discriminate. Acrylic, oil, ink, pastel, spray paint, transfers, emulsion, pencil, pen, chalk… the luxury of passing time, the dusty glazes of lapsed months, the vulnerable patinas, spillages, the fading… the re-working.