I begin my work by excavating from art history, observing the similarities of tone, palette and brushstroke in historical and contemporary painting. I explore the likenesses of pieces that are considered valuable or deemed ‘works of art’. The aesthetic connections between critically acclaimed works propel a humourous examination of what makes a ‘good painting’.
While painting the grounds are historically referenced, they are juxtaposed against automatic marks and gestures. The gestures are a result of my material investigations and are often, cartoon-like, referencing a range of painting traditions, from pop art to abstract expressionism. The gestures, grounds, and mark making coalesce to become art about art, where the cannons of art history are challenged by appropriation, chance, and the artist’s self awareness. The resulting work is a cheeky topography of the ever changing landscape of art.