Monday, 9 March 2015


If I were to situate my practice within an historical context, I would link it primarily to abstract expressionism. While I consider myself to be a postmodern artist I am not looking back at abstract expressionism / modernism with the cynical or ironic lens which the term often implies.

My work is not a reaction against but an open dialogue with its techniques, practices and principles. I am still producing non-representational work but doing so by using the format of repeatable all-oversurface patterns. I see this as a logical development to continue the abstract expressionist experiment. I think the link between abstract expressionism and surface pattern can be seen in this statement by Clement Greenberg

The eye has trouble locating central emphases and is more directly compelled to treat the whole of the surface as a single undifferentiated field of interest, and this, in turn, compels us to feel and judge the picture more immediately in terms of its over-all unity (Greenberg, 1989, p.137).

Like the abstract expressionists, my inspiration comes from within; colours, marks and gestures speak of my internal response to the external world. In his seminal text The Sublime Is Now, Barnet Newman asserted that:

Instead of making cathedrals out of Christ, man, or life, we are making it out of ourselves, out of our own feelings. The image we produce is the self-evident one of revelation.”  (Newman,1998, p574).

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