My current practice is concerned with the position and preconceptions that surround painting.

At the heart of my practice is the process of deconstruction and reconstruction. The physical act of cutting a painting could be viewed as an aggressive and violent act, but for me it is an act that attempts to examine and re-evaluate the perceived hierarchical positioning of fine art painting, asking what is painting?

This psychologically loaded act of removal becomes central to the creation of new work, leaving it open to a range of interpretations. The residual traces on a painting's correlating rag also reference the process of painting. These collections of unintentional marks become  a history of the painting process, whilst at the same time exhibiting an interpretation of the original subject.

Remaining in the Still Life tradition the resulting works have, in a sense, pulled painting apart. Rearranging a painting's construct, opens up a dialogue between process, trace and the consequential.

Allegory, detail
2015, April George
Using Format