I make paintings that start with casual gesture or spilling paint on canvas.  This initial action marks friction between intention and chance.  I examine and contemplate the patterns and trends in the splashes and organise them using systems and categorization.  Protocol is devised upfront and the same procedure is applied objectively to all the incidences – whether sub-visual traces or obvious – within my own, invented legislation.  However, there is slippage between theory and interpretation, and so the systems evolve in complexity or degenerate as they are implemented.

This approach spawns ever more complex geometries, which could not be invented intuitively. In his 1966 essay, Chance Imagery, George Brecht described the Irrelevant Process. I adopt such initiatives and each work deploys several of these sequentially, but always giving some visual consideration to the picture’s development: a choice of colour, opacity, shimmer, camouflage…  So my strategies to diminish authorship are counterbalanced and slowly ebb and dissolve.  Complex images arise from the successive layering of different schema, and an incidental decision can have immense consequences.

The work alludes to chaos theory as well as structural evolution in, say, a river’s tributaries, social networks or urban sprawl.  Mostly, I am interested in the human and social signification of my imagery.  My work is a forum for me to contemplate social and political organisation and ideologies, such as judicial and legislative determination, institutional behaviour, mechanisms for selecting and structuring government (Democracy?, Proportional representation? (de-)centralization?).  These paintings do not propose solutions but map dilemmas of citizenship.