The emphasis on touch and surface materiality is physically ingrained into art-making. All depiction in painting and sculpture implies a haptic response to some degree, but the idea of touch is deliberately and meticulously expanded in this series of works. The experience of light and colour within the traditional framing of painting, displayed as a sculpture, responds to the space and the physical presence of the viewer.
My art practice relies on stripping back materials to explore their aesthetic potential. I use gloomy, natural colours so that my works can merge with the cold space they inhabit with the intention of transporting the viewer towards an evocative atmosphere and seemingly, aseptic, emotionless light.