My practice is centred around an exploration of the measure of light: luminosity. Each work is composed of multiple elements, panels are covered in fabric, painted and sit on the wall in sculptural relief. The panels frame the spaces in between, creating a weaving with the different degrees of light and shadow. Like a barometer, they respond to the changing conditions of a space. What is normally immaterial and atmospheric, becomes a fundamental material component of the work.
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.
Alongside material optics, my practice is informed by architectural theory and Japanese spatial concepts. I am exploring qualities such as mysteriousness, ephemerality, tipping points, proximity and boundaries in motion, through the lens of spatial perception. For example, I often study the idea of Michiyuki, which refers to the idea of looking at the same thing from the other side. It is therefore impossible to capture the paintings in totality.
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, such as reducing blood pressure. It is important that the works reveal themselves slowly, allowing it to become possible to measure the time it may take to travel from one physiological state to another.