WOODLAND SERIES #2

These works evolve in a way that pulls between consciousness and unconsciousness. Borrowing from the existing forms of neighbouring woodlands, systems of methodical mark-making enables space and opportunities for composition and editing. Beginning with the forest and the journey through it, marks follow lines from the captured forms of nature, and structure is kept in check by the limitations of ritual. Having constrained possible notions of expression and liability, the works then evolve from an infrastructure of order towards freedoms found within the capabilities of material. Veering away from forms found in nature, nonetheless these works do not let go the structure which holds them in place. The shifting marks of pencil and paint are made possible by the refuge of the woodlands. With reference to the ‘immensity of the forest’, Gaston Bachelard quotes, ‘we do not have to be long in the woods to experience the always rather anxious impression of “going deeper and deeper” into a limitless world’. In an unconscious manner, the works have played with the idea that the repeated form of the forest as an infinite and immense body opens limitless possibilities. The works may progress along many pathways and offshoots and be granted the freedom to make choices but remain founded and anchored.