My practice is a constant investigation. I question the foundation of the support by playing with and disrupting the tension and materiality of the surface. I think of painting as a mode of construction. I’m not attached to a form but to the condition of its emergence.

I have an ongoing photographic archive of repaired doors from barns, garages, buildings and window-shops that I find in passing. I’m particularly fascinated by the repairs that are made out of structural necessity with the minimum.The material shift places everything into a pictorial occasion. My studio activity of building, deconstructing and repairing the surface, produces a residue, a reserve, a trace, which informs subsequent works. Allowing me to avoid any preconception of the final image. The surface is a place where the different materials and modes of application brought together confront each other, operating within a discontinuous chronology.

My memories of traveling out to sea regularly and chasing the ever changing horizon have a lasting influence on my work. This sensation of drifting and the swaying sea scape inform my use of composition.
I work in different series, each defined by their own method and technique, either through collage, sewing, or transfers. Assemblage is a constant mode of construction, knitting all my investigations together.