But as the adage goes, there’s no light without dark. Colour acts as a device for enticement and the lush, floral elements convey a sense of freedom and otherworldliness. There is a tension between the seemingly joyous and darker narratives that I’m thinking about when I make my work. What inspired you to create such a contrast in your works?
Your landscapes are hyper-colourful and represent wild places, but there is a sense of abandonment in them. These two polar ways of working really complement and inform each other it’s important for me to have the freedom to move between the two. I don’t use brushes or tools, I just manipulate the surface to move it around. Resin, the medium I work with for the abstract paintings, has a short working-time, and after a certain point you can’t go any further with i t, s o you have this very intense working period, completely focused on one thing. My approach to the abstract pieces works in the opposite way in that I have to make decisions quickly and the process is very immediate and in the moment. I work on a series of paintings in my studio over several months and there is time for contemplation or decision. This process of layering and editing gives the landscape paintings their depth and fluidity.
A s the composition becomes more coherent, I close in on detail. I’m guided by what’s happening with the paint itself, allowing splashes and drips to suggest form s. The landscapes take a long time to complete and are densely layered – the composition evolves on the canvas with no preplanning. How do you approach each genre differently? You create both f loral landscapes and abstract works.
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