The work in Entangled and at Elan Fine Art, Fall 2017, was primarily made over the last two years. Previous concerns, as with my Breathing Machines series, 2012-2015, include capturing light from a substrate and referencing bodies and trees and spaces around them. New concerns are disjunctions between surface treatments, rough edges, superimposed panels and revealed sections of other paintings. Content is in relationships between shapes and colours and treatments and layers. My newer paintings resist reproducibility by wrapping around edges and by incorporating gaps between layers and relief sections that produce shadows. What is the figure and what is the ground, what is positive and what is negative, what is revealed and why? These are some questions I'm exploring with this work.



Sutil Point, 2010

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