There is something intrinsically intimate in the act of looking ata painting - we can zoom in and obsess over a detail, then zoom out and witnessit as part of a greater whole. Each mark, colour and gesture has itsfundamental role to play in a larger composition; just as each instrumentparticipates in a symphony.

What happens if we remove these individual marks or traces from apainting and present them naked on the wall? What new kind of visual dialoguesand conversations can they establish if others then surround them?

The inspiration for this work came from a desire to zoom in andseparate individual elements from pre-existing paintings. Like taking aphotograph, I used a rectangular frame to crop and remove smaller forms thatseemed to have their own singular autonomy, a bit like removing individualwords from a poem.

Resized and mounted onto panels, I was able to reassemble thesegestures into a new gridded constellation. The spaces in between each workprovide an opportunity for the works to assume their own individual presencewhile simultaneously allowing them to dialogue and converse with theirneighbours. New visual relations and rhythmic dynamics are made possible.

The isolated nature of these fragments draws our attention to thematerial constituency of painting – traces that have been left directly by thehand, the actions of a body - then transformed further through erasure andfrottage against the wall. The warm halo that appears on the wall behind eachwork is designed to generate a chromatic field that unifies the works whileseducing the spectator’s curiosity to get up close. Like you and I, thesepainted forms exist in space amongst other things; they are subject to gravity,reactive to light, and ultimately seek to initiate new connections.