I have written many times about my paintings and now for the first time I am able to apply my theoretical concerns to the additional process of sculpture.
Painting, as I see it, involves in part a trompe l’oeil and illusionary approach to the relationships of form and space to subject. A painter works in two dimensions but invariably cannot avoid considering three dimensions. Space, light, form and colour can be controlled and manipulated to achieve a work that is autonomous, consistently still and relatively unchanging.
Sculpture manipulates actual three-dimensional form that is dependent on light to reveal it. The light changes, the form shifts and the space consistently moves, contracts and expands.
“… Sculpture is dependent on certain lights, namely those from above, while a picture carries everywhere with it its own light and shade”. – Leonardo Da Vinci
In my practice the materials and methodologies within both disciplines, though quite different, are connected at their source by a consistent intent. Each work, whether painting or sculpture, is essentially a reflection of my unconscious impulses tempered by considered thought and deliberation.
Seemingly springing from a void, the works may broadly relate to one another, though rarely do my drawings, paintings or sculpture do this in a direct way.
I see my work as neither descriptive nor illustrative in a consciously specific sense but prefer the idea that I am making visible those deeply mysterious images that normally reside in a shadowed place. These metaphorical works are, in part, the result of an existential theoretical positioning: the notion that these images and forms are driven by human experience rather than through cognitive reasoning alone.