‘I’m re-imagining our universe — entangled in the void of spacetime; As the image transforms from the three dimensional to the two dimensional form, it emerges free to endlessly stretch out beyond the limits of the flattened picture plane.’
My curved canvases (three dimensional form) become a portal to conceive new dimensional forms composed in time and space. Life springs spontaneously from these contortions, consuming the surface geometry by an accrual of events that create distinct expressions and reciprocal marks that cannot be achieved on the flat picture plane (two dimensional form). So that when the image is transformed to the flat picture plane, nothing is lost, nothing is created, the same image is in the same place. This is the way that form acquires structure, tied in the cosmos, before generating an unconstrained distortion that reflects unfolding meaning.
Since 2004, I’ve been developing the idea that a different kind of aesthetic is created when events are deployed on a curved canvas rather than a flat plane. Like a sculptor who works in three dimensional space, this approach allows me to engage with all dimensions, space and surface, including both sides of the surface. Allowing for marks to take on the form of the given geometric profile(s).
I call this approach Membrane Art — as it is the curvature profile(s) of the surfaces that underpins the development of each artwork. So regardless of whether events are painted, sprayed, poured, drilled, slashed, stamped, cracked or any other kind of mark-making. It is the curved nature of the membrane surface that creates the structural expressions for the work and, provided the work is presented in a ‘flattened’ two dimensional form for observation, it is a consequence of the aesthetic thought.
Similar to the way things may appear in nature at the atomic level, we may not fully comprehend the methods and sequences that allow it to appear the way it is but it seems to form part of our inherent reality.