for sale 7a.jpg
       
     
5.jpg
       
     
  Non representational works    Capricieux Geometry dusk  a woven, irregular and imperfect interconnected rich and varied surface of texture, dents, furrows bulges cohesive grid. Acknowledging the breathing hand. I accept the flow of making without the need to create a tight precise mechanical system. Commenting against standardisation. Balancing industrial progress with the human condition.
       
     
cerebral abstract paintings
       
     
1.jpg
       
     
blu dubray.jpg
       
     
Klinienesk .jpg
       
     
stop it chair prints.jpg
       
     
‘Interior Portraits’
       
     
for sale 7a.jpg
       
     
5.jpg
       
     
  Non representational works    Capricieux Geometry dusk  a woven, irregular and imperfect interconnected rich and varied surface of texture, dents, furrows bulges cohesive grid. Acknowledging the breathing hand. I accept the flow of making without the need to create a tight precise mechanical system. Commenting against standardisation. Balancing industrial progress with the human condition.
       
     

Non representational works

Capricieux Geometry dusk a woven, irregular and imperfect interconnected rich and varied surface of texture, dents, furrows bulges cohesive grid. Acknowledging the breathing hand. I accept the flow of making without the need to create a tight precise mechanical system. Commenting against standardisation. Balancing industrial progress with the human condition.

cerebral abstract paintings
       
     
cerebral abstract paintings

The right side of the brain has no verbal language, so when painting I use intuition; - imagination, gesture, composition, visual rhythm, grids, use of medium, colour tone, colour brightness and intensity, form, pattern and line rather than using;- verbs, tenses and punctuation or the traditional methods of draughtsmanship that the dominant left hemisphere of the brain uses. Philosopher Sigmund Freud describes this right brain activity as ‘The primary process’ that is governed by his ‘pleasure principle’ to free up spontaneity and immediately discharge energy from the unconscious mind. Freeing art from the burden of representation.

1.jpg
       
     
blu dubray.jpg
       
     
Klinienesk .jpg
       
     
stop it chair prints.jpg
       
     
‘Interior Portraits’
       
     
‘Interior Portraits’

In this work I explore the relationship between interiors and portraits, by using chairs and textural grids as metaphors as a reminder of emotive characteristics of the self, aspects of the human condition and social conditioning. I am visually asking the question and challenging the meaning of ‘perfection’ and evoke what I prefer perfection to mean to me.

I am interested in balancing these areas of interest, through a multitude of disciplines and playing with the quintessential Japanese aesthetic, psychoanalysis and modernism, to analyze and conceptualize my artistic form, process and basically appreciating things imperfect, irregular and incomplete.Chairs function and utility. Outline, overlapping, confronting the loss of limitations, breaking through the outline boundaries, moving out of restriction, fusing inner and outer, blurring. Indistinct outline yet obvious.

I could be metaphorically reupholstering the human psyche, restoring an absence or reconstructing an interior?

Machine Chair commenting on mass production. Social conditioning, where people become working machines attached to their desks. Defined edges.

Stop it chair idiosyncratic in nature, hand drawn, naughty chair children are made to sit on if they miss behave. Text extract from a poem I wrote to my parents when I was 7, and put it onto my bedroom chair for them to find.