I use the figure as a space to examine the limits of the body. This work approaches the body as a situation where the organization of its components can be re structured and altered. The formalities of scale, physicality, volume and density are altered and adjusted throughout the process and this deliberate misuse of the figure attempts to draw out nuances and absurdities. The actions involved in the thinking and doing become articulated, drawing out the disparity and contradictions between the two processes.
Cartoon-like and contorted figures find an uncomfortable harmony as the paintings develop.The idea of a figure attempting to build itself in order to survive lies at the basis of the work. The body becomes the space for managing an ongoing set of social interactions and relationships. The relentless codifying and abstraction of the world becomes a playground of observation. The absurdity must be embraced in order to function and is then handed back to the world, perhaps more relevant and contingent than before. The awkward and the irresolute within the painting become part and parcel of its completion.
The flattening out of the image is an attempt to break with perspective and orientate the viewer into the making of the work. The figurative aspects operate as entry points into the work. Acrylic and oil marker pens draw over the surface of the paint to unsettle and redirect the images formation. This also functions as the most direct way to recapture the initial intent that drove the paintings conception.
The distinct marker lines reference the exaggerated forms of Cubism while also taking influence from the marks of graffiti and the “DIY” instructional diagrams of the digital age. These styles combine ideas of sculptural forms and the reorganization of space to obscure and redefine. I attempt to create a new situation where the figure becomes dislocated but free to be reconfigured in to a new space where a functioning body can exist.