New Zealand, 20th Century.
I have a classical training in Fine Arts and adopted the fundamental European aspects of classical arts into my practice of abstract expressionism. Not only has this allowed full self expression, but through this I have gained confidence in artistic decision making from my classical training, and freedom to explore through abstract expressionism. I have produced a large body of artworks throughout my career, exploring with different supports such as traditional canvas, Perspex, PVC, fibre glass, and metal stencils, and different paints ranging from industrial paint, glass paint, ink, plaster, acrylic, spray paints and oils. These materials are a tool for me to express my vocabulary of techniques that I have accumulated over the years. I do not sketch new works prior to making them, instead there is a process of internalization where energy and emotion grows and builds until it bursts through my gestures and transposes on the canvas. I always say that there is no separation between body, mind and spirit, in the sense that the body is like a vessel for the energy to express itself. Therefore where I get inspired from is not as relevant as how I process it. Lately, I have put more focus on action painting, where I analyze the development of mark making from abrupt and instant brush strokes to slow motion pouring. In this way, motion is present in my work as energy preserved in the artistic media I use. In some artworks, motion is used to disrupt the flowing of the paint and create intensity through lines, in others I have allowed paint to settle and seep into calming rhythms. Lessosing You’