The paintings take their cue from the rapid expansion of the urban landscape, surveying a curiosity and fascination with the built environment and a concern for the nature that surrounds us.
A need for stability manifests itself through an attraction to structure. The cityscape communicates structure. A sense of order is established through line, grid, and repetition, assuming pattern and stability, and suggesting that life unfolds linearly. That we take the same unconscious routes among clearly defined paths and that there is an order between our experience and the people we come into contact with. Painting reflects the human mind and spirit, intuition and behaviour, perhaps more spontaneous encounters that reside outside of these assumed patterns of activity.
This work confront the ideas and structures we put into place in order to protect ourselves from uncertainty. Dreamscapes are collaged together using the everyday, often seen as banal, to evoke a philosophical reading of the ever-expanding metropolis; scaffolding and formwork are temporary support systems, cranes lift beyond human capabilities, concrete is stability, and demolition rids us of the things that are no longer of use. How we build represents what we value. Materials used and decisions made will embed themselves in the layers of the earth and the strata of human history. The focus of this work transcends prefabricated concrete slabs constructed to contain and instead, examines the foundations of Being. When integrated with nature, the city’s infrastructure acts as a space for contemplation; the individual and collective journey, and the act of rebuilding.
Link to Graduate Thesis:
Creating Structure: The Complexity of Making, Dwelling, and Being. http://hdl.handle.net/2429/76281