The significance of negative space in painting has driven my studio research since graduating. Initially interested in the materiality of paint and the practice in transforming the medium into the subject of the artwork, my practice has progressed towards marking the structure of negative space.
My paintings are formed as a result of constant layering and manipulation. Thick skins of pure paint are then assembled with the intention to create a surface where tone and shadow articulate form. Each painting becomes an autonomous object demonstrating a specific body language, an independent response to the surroundings in which it is shown. Fluid folds of paint direct the gaze over and into receding and overhanging spaces. Environments are constructed within other environments as the tonal properties of the surface alter. These states of flux challenge the geometric rigidity of the board the paint is applied onto. Muted tones physically embody the painting prompting a direct plea for an interpretation through a Minimalist persuasion.
These aesthetic gestures will direct my investigation towards the exploration and analysis of documenting the structure of the negative space, assessing the void as a potential tangible property.