Description

In the performance of making work I experience something akin to synaesthesia; I say this because I feel or hear the drawing as I make it. I find myself in a state of push and pull and so consider whether I am indeed, maker of the 'things' that appear or whether I merely facilitate them into being.

My experience of making is reinforced by Heidegger's theory of Being in Art and has led me to think that artists have a 'presupposing knowledge' of the work - though this is not definitive, artists are clear when they arrive at the end point.

Aesthetically, the works have often been interpreted within a 'micro' or 'macro' connotation, but it is my understanding that the forms I pull out of the surface exist invisible to us; in pouring water and ink onto the surface they are captured and made visible. I liken my practice to the process of uncovering a fossil; a fossil only retains some of the form of the animal that existed, and paleontologists must determine the rest of the information. I use sharper tools such as pencil, pen and blade to extrapolate the details lost in the seizure of the wet medium.