Centring around the painter being able to produce unarticulated potential my recent work aims to analysis the duration of painting as a production. To see how living within, alongside and with painting can produce, in a sense, a part of itself. A metaphysical form that crystallises itself through history. History as a localised formality, history as duration. Influenced by Ellen Gallagher and Rene Daniels aI have worked on this idea of the 'motif' within painting as the provider of visual form and subtext. Breaking down compositions of 15th century masters into basic lines narrative becomes a visual strategy. A strategy or coding that moves across the surface pulling at, a sock, a silhouette or a shoe as visual form and subtext play out. Nuances develop where figurative elements narrate inarticulate forms. Letting components clash and come together over a series where work allows the once inarticulate motif to form its own speech.
At points the motif acts as a prerequisite, forming an environment to harbour figuration. But in many ways the motif becomes a direct and valued articulation of the duration of painting that can not be analytically displayed but instead developed, prolonged, worked over and revised. I hope my paintings offer a small interior space, at the side of the margin, where the workings out can be seen. Observing the workings out becomes the duration.
