Four Equal Or Corresponding Parts

Paint, aerosol paint, crayon, staples, twine, ink, acetate and paper on board 1600mm x 1600mm

Considering white space as a way to see through the surface background to the wall behind it. Removing material from one work and applying it to another as an act of autodidactic intertextual cross-pollination. Pretending to be someone else as I make the mark. Explaining the mark to myself as if it were a move in a game of chess against the computer. Light on dark fading into dark on light. Matte versus gloss. Letting the paint behave as it wants to. A pencil breaking at the correct moment but we continue. Hard edges or soft edges? Building a wall or making a brick? The outline of something folding and unfolding. Configurations overlaid. Defining the substrate. Rejecting the pixel. To obscure as a way to bring both the obscuring and the obscured into focus. Instants stringed together to form sequences. Considering the structure of a comic strip, or a contact sheet. Diptychs consolidated into an expanded field.