Primarily
I seek to make an 'image' from things that are not visual.
My creative practice involves painting, text, photography
and an aspect of performance to capture an emotion, a mood
or an idea and make it manifest into the tangible. The 'moods'
or 'unspoken narratives' that interest me as subject matter
are those which are reflective of the human condition, which
I see as being half animal, half angel. This is best demonstrated
by examining our chosen deitys, a species with which we attribute
both divine benevolence and the creation of the predatory
food chain - a paradox or a shizophrenic personality? I choose
to see it as a paradox, further evident when you realise that
we are perhaps the only truely self aware animals yet are
still in the dark as to what we actually are. All ideas about
humans are by humans and therefor we are self defined.
I
also utilise digital technology, collage and experimental
recontextulisation of appropriated images/text from newspapers
and magazines. My image making process and my text making
process are identical yet manifest in different mediums. Often
a painting in progress leads to the writing of related text,
the unspoken in the image is spoken on the page and in your
head as you read the result. Sometimes this text is incorporated
directly into the painting, other times the text will be submitted
to a magazine or a newspaper for publication as an entity
in itself.
The
performance aspect of my creative process evolved as result
of the publication of my text in many reputable anthologies,
newspapers and periodicals and the subsequent invitations
I recieved to present these texts at writers festivals and
poetry readings. I define a 'performance' as the body in space.
I am always working on new ways to incorporate 'image and
atmosphere' into these performances beyond that of the spoken
word. I have performed my texts at numerous festivals and
readings, the most recent being The Brisbane Writers Festival
2003 and The Wellington International Poetry Festval 2004.
To
be continued...
