Updated: May 1, 2020
Dune (detail) – LED / drilled wood 170 x 125 x 4 cm
Memento Mori is my new collection of light sculptures exploring the coded languages hidden within pattern.
Through scorching and drilling the wood, I accentuate the stories innate in each piece. The influence of the seasons and type of tree all factor into the thumb print of each wood grain. Seeing the wood veneer as parchment or scroll, and its grain as text, the wood tells us a story about itself.
While working on a previous series of abstract paintings exploring pattern and number sequences, I became aware of how form is its own language with its own syntax.
I became interested in representing and transmitting the mystery of nature rather than the subjective experience of the individual.
During the day the wood itself is apparent, but as the light fades the wood transforms into a pattern of lights, and what you see is a representation of the grain. A form that could at once be a butterfly wing, sand dunes or refections on the surface of water.
Memento Mori – oak / LED 116 x 86 x 4 cm Codex – wood / LED / paint 100 x 72 x 4 cm
Land of Milk and Honey - Solo show, Jardin en Ville, Carcassonne
The Negotiators 82 x 122 cm acrylic on board
This series of paintings is a jump into the fever pitch intensity of cartoons. It is another language, this time one of vibrant colour, energy and noise, with simplified forms and gestures that exist in parallel to our own daily lives.
There was an optimism in the 50's, post-war America - an upbeat dynamism that embraced industry, growth and mechanisation. There was also a shift from 'need' to 'desire' and the new utopia of modernity was in vogue.
Despite its vibrancy, this work also hints at the impossibility and instability of this dream of unfettered consumerism, alluding to the cracks of this present day's utopia.
Here, I create collages of images, allowing them to coalesce until they resonate and reflect my own obsessions and concerns.
TikiMiki - Galerie Winkler - Tahiti
In July, I found myself exhibiting again in Tahiti. TikiMiki was the result of my fascination with this incredible place, and the paradoxes that face it as it assimilates its past with the fast changing present.
The show took the form of drawings, paintings, video installation and photographs.
The Forest Gathering – pencil, acrylic on paper 60 x 40 cm (after Lucien Gauthier)
Cultural Totems, after Lucien Gauthier – 40 x 60 cm
Where Do We Come From? What Are We? Where Are We Going?
Gauguin’s poignant title provokes a dialogue that is no less topical now than it was in 1898 when he completed his seminal painting. Like many cultures, Tahitians strive to integrate the narrative of their past with the invasion of global popular culture. The Tiki has become a brand or an icon for Tahiti, in the same way as Mickey acts like a global ambassador for the pervasive soft power of Disney and the American dream. Its iconography transcends borders and continents. TikiMiki represents this alliance between Primitive and popular culture.