what's behind the paint
All works are oil paint, glazing compound and pencil on either 12oz cotton duck, 100% acid-free paper, or timber panel. They are engineered to float 20 - 40mm from the wall, unconstrained by a frame.
The canvas paintings are fully lined with cotton duck. The canvas is cut to the edge of the visual field and the entire painting is hinge-mounted onto a hidden timber frame.
Please note: the canvases do not wrap around a stretcher in the traditional manner.
The paper paintings are centrally dry-mounted to the backing board.
Adhesives are archival quality and acid-free.
The untreated edges of the paintings prevents the subject from becoming trapped on the wall within a two-dimensional constraint. The reflective surface of the glaze also serves to occasionally obscure the content and combined with the subtle motions of the canvas, paper and warping of the board, this allows the painting to breathe and change with its environment, releasing the story held within the paint.
These elusive qualities do not necessarily allow the entire painting to be viewed wholly from one particular point in space and time; they require the viewer to physically engage with the work by moving around it, viewing it from different perspectives. Like any good idea or scientific theory, although robust, the painting and its content remains malleable, able to evolve over time.