Artist statement

For as long as I can remember I have been fascinated by the space between things. Most likely because I was born in a different country to where I was raised. The sense of distance and curiosity would stoke my imagination. The notion of travel had a similar impact, even today after having lived or worked across four continents and more than a dozen countries, I still take pleasure in the process of being in transit and disembarking in a place that is both strange and familiar. For all of the time spent imagining, I can actually be in another world within a matter of hours.

Cultural exchange has been a leading influence in both my commercial and artistic work. There are many theories on the distribution of space in visual language. In some places it is intrinsic to national identity. My curiosity lies in how space is arranged in different cultures and synthesising this in my work. For instance the ink wash paintings of the Asian landscape consider the void to be an essential element, as much as the mountain or tree represented in the painting. My Sketches of series’ and In Praise of Shadows combine my Germanic design training with a culturally specific symbol, resulting in a constructivist approach to subject and void which is more orderly than harmonious, noting the difference in spatial theory between East and West. 

More recently my academic work involves positioning A4 placeholders in spaces, photographing the abstract shadowgram on the image space, before installing the 1:1 scale print back where it was captured. The documentation of this site-specific work, what is shown to the viewer, reveals the intervals that exist between images or what is known in Japanese as Ma, proposing that an image is never complete. But also inviting the viewer to use the space in between the shadowgrams to complete the image in their own mind.

In the global age, art can no longer be considered an indigenous form, but what Nicholas Bourriaud calls a ‘formation’, in which a myriad of influences and rejections combine through cross-cultural exchange. My way of seeing is not definitive, it does not try to be. I aim to make my work open ended, leaving space for the viewer to conclude a meaning autonomously.