During this year of study, my practice diverged away from the creation of sculptural form into the creation of more paintings and collaged artworks. These images, whose origins were the working drawings and paintings for sculptures, gradually became more significant to me and they became less like preparatory designs and more like finished artistic statements. They managed, at this juncture, to retain more immediate, emotional and visceral potency than, I felt, I had achieved with some of my sculptural forms. They also were a refreshing change in artistic trajectory and research.
The palette I employed was deliberately cold. Combining abstraction and figuration, the paintings aimed to display an emotional frigidity and anonymity as well as representing a lonely and dispassionate vision of sex and relationships. The figures perform as if on a precipitous stage. Each is dependent on each other but also inexorably entrapped.
The paintings continue an exploration and exposure of aspects of my personal psychology but also aim to exemplify these themes in relation to a wider context. They serve as personal testaments but also reflections on what, I perceive as disjunction in society.