My work begins with painting the human figure. In Unstable Grounds, form gathers into a dense mass or disperses into lines, stains and imprints. I am interested in how the presence of a body remains perceptible when its boundaries become uncertain.

I use paint, paper, burlap and rope. Layers, fibres and frayed edges take part in forming the image. A sense of the body emerges through the relationship between material and exposed ground, and through the gestures of making: pressing, adhering and tearing.

Papers, ropes, printing matrices and offcuts from earlier experiments return in new compositions, carrying their existing traces. The surfaces may recall terrain, fissures or deposits. The title Unstable Grounds refers to the shifting relationship between body and surface.