My work has largely been grounded in a systems based drawing practice that explores how an abstract structure or form can be generated from the methodical repetition of an identical line. A line being the first act of any creative endeavour, it is for me a meditation on the nature of this act from which all possibilities spring. I may draw out a highly measured sine wave or it might be a highly gestural automatic mark describing the spontaneity of a moment, but the formal qualities of this initial act will determine the aesthetic nature of the final work, albeit in unforeseen ways.
Through a process of superimposition and repetition using simple mathematical and geometric devices, this initial linea form will start to generate a complex structure or movement that is determined by a set of decisions made prior to the actual production of the work. These are effectively self-generating compositions that follow a programme. In some ways, one might see them as almost recordings of information, the visual result of the parameters that define them. But this structure may become lost to some degree in the noise of is own complexity, oscillating between clarity and the indiscernible.
One of my central concerns is the idea that great complexity is derived from great simplicity. The structures and phenomena we observe in nature from the microscopic to the cosmological are the result of this “bottom up” process from discreet simplicity to extreme intricacy. I find this a fascinating perspective and it underpins my approach to making art.