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My works sit between painting, architecture and sculpture. My intention is for each work to cohabit the site or place they are in. Three dimensional frameworks come together to collect and harvest light. Each piece is composed of multiple elements that intentionally interact with one another. The spaces between become active, they are false-voids. The works can be accessed through multiple view points that are activated through movement. I think of the interaction with an artwork as sense-mapping.


I work intuitively, yet each piece is carefully planned. The different shapes will inform the paintings surfaces, that are created to be hyper-sensitive to the activity of light and movement. Each painting may have multiple surfaces that interact with each other to perform in various ways.


I am interested in Monet’s use of what he called the ‘weather effect’: using an architectural façade as a place to capture the activity of phenomena and shifts in the surrounding environment. Each work plays creates an experience of varying degrees of light and shadow. Dappled light bathes the wall’s surface and reflects the changes in the temperature of light throughout the day.


I am interested in the possibility that the experience of the different degrees and temperatures of light, shadow and colour can cause biological and cognitive shifts. Neurobiological research states that the experience of varying degrees of light and shadow positively impacts the circadian rhythm functioning (our body clock). What interests me is this internal system regulates our mood and wellbeing, therefore affecting the way we perceive and interact with the world around us.


The Baroque idea of the illuminated space beyond demonstrates that we are all heliotropic beings, tracking the movement of the sun. Navigation and orientation raise questions of disorientation; how, then, can an artwork help in times of reorientation? 

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