I am a painter with an interest in form. Fundamental to my process-based practise is materiality.  Material is what it is, it is here, now, completely present. Each material has its particular characteristics that distinguish it from another material. I am interested in pushing the material, beyond its boundaries, and pulling back just at the moment it collapses. Capturing the moment of collapse, the energy and the urgency of the making is contained within the work. Inventing or at least modifying process, by using unlikely material in an unusual way, develops a tension between brutal honesty and the unexpected.  

 

Material is integral to our lives, our relationship to material is practical, emotional and intellectual.  Mixing manmade and natural material generates a contrasting and interdependent relationship between the natural and manmade.

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Not all is as it seems. 

 

The starting point of the project Un-monument was inspired by a monument of a colonial king near my home. The statues head has been stolen repeatedly over the years. I always preferred it headless.  The object more interesting to me missing an important piece, the naughtiness of the act, and the accidental point of view it raised. Looking into the history of the monument I discovered that many of the post colonial monuments in NZ were erected to entice young men and women to join the armed forces, purposely using glory to persuade.  A kind of post-colonial billboard. The meaning of these monuments has slipped from its original intent, to a place to remember the lives lost in war.  

 

Looking at a contemporary world we are aware of ecological, financial, political and emotional systems sliding.  Our security is eroding, in response to our collective anxiety we seem to balance out with ideas around personal perfection and false positivity. We want to be right, we connect only with points of view similar to ours, to be offended has become intolerable.  It doesn’t suit us to look at a complex truth and hearty discussion is increasingly difficult. What happens when we flip the perfect world over, what do we find?

 

These works use slumped form, a result of a purposefully ridiculous process and a mix of materials to create object that demands a curious place in the world. There is play with soft & hard. What appears super soft is in fact very heavy and hard. Elements teeter on the edge of collapse. Playing with the viewers perception allows me to investigate problems facing community with a light-hearted tone.