30th April 2015
Definitely going to try gold leaf paper on the big cracks.
29th April 2015
Thinking about cracks. In the tiles. I might try lining the larger cracks with gold leaf. Also research porcelain staples which are use to preserve very rare and old porcelain if it cracks.
It could be that the energy from the making of the tiles; the power of a foot landing or the residual energy rippling out from a hand dragged through, gets stored in the clay and when it fires it reveals itself. The clay has a memory, a bit like a muscle has a memory.
At the End of the Day
At the end of the day
As the inner world of desire and fantasy meets
The external space and reality
The exchange and connections made
As the surfaces meld
At the meeting point
It reveals the cracks
And places where it all hangs together
What is and what isn’t is shown
Movement driven with feeling
Dancing with clay feet
And golden wings
How the legs stretch
And the heart cracks and races
A roller coaster tumble
On the rings
Takes a bow
Yellow Red Blues
Purple Amber Lilac
And soon a touch of Gold
27th April 2015
Getting the studio ready for assessment…
Fascinating performance piece, Tiresias, by Heather Cassils where she melts a near perfect male ice torso over several hours with her body heat….
Getting ready for assessment of Unit 3.
23rd April 2015
‘Go back to the body, which is where all the splits in Western Culture occur.’ Carolee Schneemann (Up to and including her limits)
2nd April 2015
I found this poem, in a book called Women Poets.
but do not come too near
leave room for love
to laugh at its happiness
always let some of my blond hair
by Maria Wine-Pret (Swedish)
I love the sentiment of wanting love but needing freedom also.
31st march 2015
“Logic will get you from A to B. Imagination will take you everywhere.”
– Albert Einstein
27th March 2015
Researching fitness, strength images found this one…
25th March 2015
Poiesis; creation, creative power or ability, knowing by making.
As the night gathers at the end of the day or the butterfly emerges from the cocoon, the blossoming from within…
Blue, the blue of the evening just before the moment it becomes night.
There is a being of (all) particular beings in the world.
‘Being is a question or a call that can come to us despite being hidden by the obviousness of the ‘being there’ (Dasein) of every day living.’
Thought is contained in the ‘movement of showing’.
Poetry alone brings what is into view, into unconcealedness.
The nature of poetry is the founding of truth (1971:75) Art, too has a poetic origin.
I am reading about Heidegger…in some ways his themes resonate with my practice. He thought there was no word in our culture equivalent to language, that poetry was the essence of language but its equivalence was currently beyond our realm of ideas in the scientific logo. He dismantled scientific models. Representations are about existence not about being.
16th March 2015
I went Slope Training with Charlie Briggs–Fox today. We ran to the Slope which is under the A3 flyover in Guildford. We started by warming up. Running up and down and sideways just to get used to the different foot fall feeling. And I tried some of my own warm up methods on the slope. Once I was confident being on a slope Charlie showed me a few Moves.
Monkey Jumping, Bear Walking, sliding down feet first just using your hands, cart wheels up the slope and rolls, for instance. These were great fun and had an added difficulty due to the slope.
As my confidence grew I could make some ballet Moves. Pose turns down the hill. Balance steps up the hill and balancing with leg up and out. We did a bit of filming and took a few stills.
It was insightful to move with a different floor beneath my feet. To find out what it did to my body. How the balance was effected and how the muscles responded. Also, whether the gravity it gave meant that I could do Moves enhanced by the slope. To do a cartwheel up hill for instance, the body gets thrown to the side giving it a certain look and feel. Or to slide downwards you get extra speed and momentum.
Charlie ran down, across and up the far side through the traffic. He also did a balance between blocks on the opposite side which involved his hands being on one side and his feet being on the other and he lay in mid air across, bracing himself against the two blocks hands and feet. So like lying on his stomach but up in the air braced between blocks. Enormous strength…
Charlie usually trains at night, when the light is orange and he feels cocooned in his Slope. Quiet and unseen, like a fox. People occasionally pass by but do not see him. He has invited me on a night train next…it would be good to feel that special atmosphere and Move in a different light.
We then had a run and found a few Parcour spots on the way. Charlie did a great Move on a metal walkway.
We climbed a PC World wall, walked across a canal bridge on the outside, jumped through the gap in some metal railings, hanging from the top and swinging through and I could get through a tiny gap which Charlie had tried and was too big for. Charlie then showed me how to flip over railings and we worked some different slopes on foot bridges.
That is where I tumbled and got my ‘trophy’, an egg shaped bump on my coccyx! It’s best to go over and see how it feels I think. The best people do on their first trip out, Charlie did, he assured me, from a brick pillar on to gravel on his coccyx!
We found railings to do dips on and sit ups with feet hooked under the railings…my coccyx hurt too much to sit on the pavement by then!
Try this link to see me flip a railing.
It was the best fun. The next day only my shins ached a bit…
Above a different link to the film.
15th March 2015
The Garden Gallery was a tranquil space with really nice light for the floor space and one hanging wall. I was keen to have a local exhibition and the people who visited were generally local, either through UCA, my leisure centre or people I know.
The Garden Gallery
As well as finding it really useful talking about the work and exchanging ideas, just seeing my work in a gallery space was interesting. I could see how it looked as a body of work which had a theme running through it. The work engaged people and through process there was a link between the various mediums.
The films, showing the process of using Gym Rings and Movement, added to the art works. This definitely captured people’s attention.
Above, Life Drawing Movement Performance Plaster Casts & Film
I had specifically referenced the space when choosing the work and when curating the hang. I realise that is something which is key to my exhibition approach.
The canvases in the middle, Pairings– Hot & Mesmerising, were painted using my feet and making Moves on the Gym Rings.
Studio view of Hot
Examples of painting using the Gym Rings
Playful Connections (part installation), 12 floor tiles made with stoneware porcelain clay and coloured slips and clear glaze. Made by imprinting using the Gym Rings, feet & hands and decorated using feet and hands, then fired twice.
Putting on a solo show was a challenge which was nerve wracking but it was an enjoyable and fruitful experience.
14th March 2015
Fitness Stories opened today, in The Garden Gallery at The Farnham Museum.
It was good to talk with people about work, working processes and the ideas behind the art.
10th March 2015
Today I worked with the tiles putting on the last layer. A clear transparent glaze. I worked with a 3 inch Hake brush, my rubber socked feet and latex gloved hands.
Continuing the theme of Pairings I worked the glaze, responding to pairs of tiles on which I echoed the gestures I made with the glaze on each tile pairing. The pairing were worked out from the colour grid.
1. Navy blue / Scaub blue (describe colours A & B) gestural curves and a right hand left hand touch
2. Scaub blue & red / Red (describe (B) and react colours (A)) gestural blocks and curve
3. Amber / Navy blue & Amber ( react colours (B) & describe colours (A)) gestural blocks
4. Scaub blue & Discus blue / Discus blue (describe colours (B) and react colours (A)) gestural cross over and flicks with small brush
5. Lilac / Lilac and Navy blue (React colours (B) & describe colours (A)) gestural block and curves
6. Purple & Navy blue / lemon & Scaub blue (describe colours (A) and describe colours (B)) gestural curves and feet
I then took the tiles down to the kiln room and repacked the kiln ready to go up in stages to to 300, then 600, then 1260 degrees C and down again, to be finished on Friday. So a three day firing period. ‘Time to pray to the Kiln Gods,’ Marissa said, especially as the kiln buzzed ominously a few times…the conductors are wearing out so let’s hope they last and the tiles come out to their very best.
6th March 2015
Today Jane helped me load the tiles into the kiln for their first firing. As four of the tiles were a little damp still, the kiln is going up to 10 degrees C and then slowly up to 1000 over the weekend, to fire to bisque. Then to add the glaze and second firing next week.
Two small cracks had reappeared. The clay has memory, Steve, the MA technician told me, and he was right. That can be remedied possibly or absorbed, it’s in the nature of the material…..
Marissa was firing up the kiln after lunch. Thanks Marissa…
5th March 2015
As the tiles dry, thinking about titles, meanings, reflections. Considering glazes, methods of application and colour/non-colour.
Also contemplating poetry, haku, words…
Also, did the first test with making an alginate and mud rock mold. Steve, the MA technician worked with me and he made a mold of my elbow, upper arm and slightly into my shoulder. We then cast the mold into wax.
It picked up the details of the muscle form and skin detail really well. Considering materials for the Futurity Show Proposal, for an April show. Make it a test run for the Summer and more robust materials, possibly porcelain and or metal… London Bronze Casting calling for submissions from graduating students to help them make their final pieces in more expensive materials. in the meantime wax or mud rock might work…
27th Feb 2015
Transported the tiles to the kiln room to dry.
Afterwards spent time experimenting on the Rings to see what happens when they are different heights and if each one is a different length. How could I get to the sides?
When the straps were a different length I worked to keep the moves balanced. This created lots of tension on one side of the body to hold the position, say upside down legs up straight. then I played with going with the imbalance to see where the body went and ended up.
26th Feb 2015
Spent the day working with the coloured slips. Slow, contemplative, sensuous. It was so blissful to lose myself in the colour and the feeling, the emotion behind work.
Ballet and gym in the middle, then back to finish and do some photography & films.
The surface to surface feel of the socked foot against the clay with the slide of the slip was fantastically sensuous. To feel, to use the senses, as well as to look, is to connect more fully.
The tiles are now ready to dry in the kiln room prior to the first firing. Tomorrow I need to take them downstairs.
To view a short film of applying the yellow slip you can click on the link below to my Face Book time line.
25th Feb 2015
Today was all about colour on the Floor Tiles. I am using the colours to research and be experimental, as using slips on clay is all new. So I decided to keep it simple.
Colour is so much about the emotion of the piece.
The slips will look different when fired and glazed. And the rubber socks worked a treat, especially having toes. They fit like skin…whatever floats your boat I guess! (sourced from the world of fetish…)
The Face Book link takes you to my time line where there are photos and videos.
24th Feb 2015
My body was tired this morning so I took the dog out for a long walk to stretch out my legs. The countryside, fresh air and sun warm on my skin worked wonders.
I sourced some white bowls to hold the decorating slip in, preferring bowls to plates as the slip is likely to be more runny than paint.
I am thinking a lot about colour and my colour choices. The emotion and story. How to use the colour. What may work. I keep looking at ceramics to inspire me. I ordered a book about slips from the library.
I am also researching Muscle Memory. I discovered today that muscle memory is thought to be located in the nuclei of cells. And when strength training is carried out muscles gather more stem cells to the fibres.
When people have a long break from strength training it was thought fibre was lost but now it is thought that the fibres are retained as are the stem cells around them and they are reactivated when training commences and strength comes back very quickly.
So, for instance, if you train and get fit prior to old age if you exercise in old age you would benefit more from that exercise if you have trained in the past as your Muscles remember and develop strength more quickly.
I did a short work out and stretch in the gym to warm up. Then, I spent some time today looking at the tiles. Absorbing each individual tile to see what marks were there and considering whether more work was needed.
I made the straps slightly longer on the Gym Rings so that I could reach the outer edges. The Rings moved differently, less tension to hold against. They did take me further outwards.
My work reflected my contemplation. A slower pace for some of it. A more considered approach. Then more energetic upside down work with hands.
I have uploaded another short film to my Face book time line. A glimpse of day 3.
Had a soak in a hot bath as my calves and shoulders ached. After a bath and a good stretch I felt fully recovered.
I left the tiles uncovered overnight to start the drying process, getting prepared for the colour.
22nd Feb 2015
Two sessions working with the floor tiles on the Gym Rings. And work out at the gym in between. Took the lunges weight down to 2 x 8kg kettle bells but did pyramid my squats using 30kg x 14, 35kg x 10, 40kg x 8, 50kg x 5. Had a good stretch to splits as well.
Tried filming with the Flip camera for the morning session. and got help filming in the afternoon. Upside down is more of a challenge to move around. You have to really push with your hands to move and it is a hard stretch to meet reach the outer tiles. Good fun.
A short film of a section of day 2’s work can be found on my Face Book time line page at;
As well as a short film of some of Day 1’s Movement on the Gym Rings.
21st Feb 2015
A short film footage from my first session with the Gym Rings on the clay for Gym Rings Floor Tiles 1, can be found on my Face Book Timeline. Link below…
20th Feb 2015
Great PT session at the gym. I have a new warm up routine involving body exercises rather than cardio machines. On the squat rack I did pyramid squats from 35kg working up to 50kg.
Then I was nicely warmed up, ready for work in the studio. I slab rolled the last two floor tiles before hand and after the gym, cut the tiles into straight edged, 40 x 45cm tiles. Then I worked on them using the Gym Rings. Firstly, moving and working with my bare feet and then upside down, using hands. It was strenuous swinging and stretching to the outer edges of the clay tiles using my hands.
It was about getting to know what marks can be made and how and to test myself and the Rings. To try out pressure to see how deep certain Movements go. To try not to break through the bottom surface of the clay. To work within the restrictions of space and swing possibilities. to reflect and respond to gaps and surfaces. To test the body. And to think about & imagine the story and the emotion of the Movement and the piece itself.
I had the work with feet filmed and also had some stills made of the tile preparation and just before the work. Once these are downloaded I will post some images and hopefully, some film. For now here are some photographs I took afterwards.
above, Gym Rings Floor Tiles 1, after the first session on the rings
19th February 2015
Almost ready to start working on the clay. Having slab rollered the bags of clay now. That was like a hard workout. The bags weighs about 25kg each, so carrying them into the University and up the stairs to the studio and then each one down the stairs to the ceramics studio and then up again, rolled out and carried on a board. My arms really ached!
When I laid the boards out under the Gym Rings I saw that 10 tiles would not work aesthetically, so I ordered two new bags so I can have a 4 x 3 configuration.
above, Studio views, Gym Rings Floor Tiles 1 preparation for performance
‘The true artist is interested in the art object as an art process, the thing in being, the being of the thing, the struggle, the excitement, the energy, that have found expression in a particular way. The true artist is after the problem…If the true artist is connected, then he or she has much to give us because it is connection that we seek. Connection to the past, to one another, to the physical world…’ (Jeanette Winterson, http://www.brainpickings.org/2014/10/27/jeanette-winterson-art-objects/ )
Having pondered with Marissa, the brilliant ceramics technician, about the best way to protect my feet when using decorating slips to paint with on the clay, we thought perhaps cling film wrapped around or she suggested verruca socks. Although far from glamorous I did research the verruca socks further and discovered that they sensibly have knobbly bottoms, they are generally used for going to swimming pools.
Knobbly, is not a surface I was happy to go surface to surface with my clay with. So I tried goggling my needs and You Tube came up with the answer. I watched an enlightening film of a foot socked in rubber, every now and then the toes would wiggle a little. Whatever floats your boat I thought but the socks were just what I needed. I managed to source them through amazon, surprisingly, and they have the wonderful title of,
Quite a mouthful that and not my usual type of Amazon order. But for a Gym Rings artist who needs to protect her feet from toxic substances, just the job. Lovely smooth surface and to have toes in them as well, one couldn’t wish for more….
13th February 2015
My weekly ballet class yesterday was a tribute in my mind to Julia. The speed and ferocity of her cancer has been quite shocking. She will be fondly remembered, especially in the dance studio and at the barre. My muscle memory has been partly designed by her and that will continue into the future.
There is a show to try for about Futurity, I might do something about muscles and memory. What we do now in our muscles will still be with us in the future. Physical teachers/trainers/physios input into that significantly. I might be able to combine this idea with my Body Sculpture/assemblage thoughts.
10th February 2015
Sad news today, my beautiful, talented ballet teacher, Julia Warman, passed away. She had cancer diagnosed only last June. She was really fit and vibrant. She had a wonderful husband and two lovely children. Life is hard sometimes. My thoughts are with her family and friends. XXX
Julia on the beach just after her diagnosis. She loved the beach. Julia taught me to dance and to love ballet and moving. For that I will be eternally grateful.
5th February 2015
Today Marissa, ceramics technician, inducted me into the ceramics department and the slab roller. I rolled out my first tile!
The clay arrived. Photo, in my studio at home. Quite daunted but decide to take it one day at a time. Also very exciting…
The first rolled tile wrapped in my studio at UCA Farnham
Now I am reflecting on the story at the heart of the work. Saw some interesting examples of the slip colours in the ceramics department, lots to think about.
30th January 2015
I have the clay, slips and accessories for the Gym Rings Floor Tiles 1. Work begins Monday next week.
29th January 2015
I went to the Private View of The Graduate Highlights Show at The Light Box Gallery, in Woking. It was nice to meet up with a few ex students from UCA Farnham, including Debra-Lorraine Grant, Anna Garrett and James Brown.
The curator, Peter Hall, was a friendly host and gave a nice talk to sum up his feelings about the show. He wants to make it an annual event and is very keen to network with local artists.
26th January 2015
Visited The Graduate Highlight Show at The Light Box Gallery, in Woking, on Saturday. The show is well presented and lit very sensitively. There are some thought provoking stories behind some of the art works, as well as art that is visually striking and holds a fascination in the process.
Today I have ordered my stoneware, porcelain, grogged clay and coloured decorating slips. Gym Rings Floor Tiles 1 Pairings 2 is the piece to be made. The colour, based on emotion in the field of fantasy, is about description & reaction.
Yellow Discus blue
Royal purple Amber
23rd January 2015
Today I had a visitor to the studio. Charlie Briggs, classics & historical research MA and Parkour, Free Running, Falling in public expert, amongst other things. Through the late morning and into the afternoon, we researched the Gym Rings together. It was interesting to see another person with different Moves and mind set working the Rings.
We tried out hands down Moves and Rings at different heights Moves. We also tried different widths, narrow & wide. New ideas on how to use them.
Next we are planning a Parkour outing around Guildford, to include Slopes Training & Subways. Sounds exciting. Below is a link to Charlie’s You Tube Channel.
Pairings 1 Hot & Mesmerising
Still chasing that colour for the clay but think I’ve found it. Ultramarine Blue, Navy blue, lilac, red & orange (small touches) bright blue. So time to order the clay & decorating slip.
22nd January 2015
Worked with the Gym Rings on Mesmerising. Painting with flame orange paint. Its warmth appealed. It feels like something of an intrusion. I think it worked well with the cool blues though.
My Mirror piece got a orange mark on the top caused by the restrictive room for swinging, my foot just went there!
Mesmerising in the studio with orange just added
acrylic on stretched primed canvas 180cm x 150
I have asked Scarva a question about how much clay to use and delivery times. I am poised to order my clay but Clayman in Chichester are low stock for my Stoneware porcelain and their colours are soft. On colour I am a bit blocked about which colours to use. Do I go for cool blues, greys maybe purples or do I use my emotion guide and put some warmth and passion in to the work?
20th January 2015
Pairings 1 Hot & Mesmerising (2 blues, unfinished)
Worked on Mesmerising painting with Wedgwood acrylic paint. A little fatigued after working out yesterday I think. The more I worked the more the energy returned. It feels so good working on the Gym Rings and Moving. Really reflecting on the marks and responding. Feeling familiar with what Moves I can make in the new space.
Decided to use MDF boards cut to shape and screwed into the wooden frame to work on with the sides idea. The shape could be interesting hung on above the other, with one flipped or standing on the floor tilted one to the other.
Also secured drying and firing dates for the floor tiles. Tomorrow I order the clay.
Missed stretching out in the gym ,just ran out of time. Did start My Fitness Pal food diary again though.
18th January 2015
I am working on an idea of making a painting upside down, or on the side, using the Gym Rings. Taking the idea of Movements which are harder and working out to the physical boundaries of the structure and space. The physical feat of making the work will present more difficulty and the application of the paint will be more problematic.
16th January 2015
When I was working the Rings in the week there was something attractive about pushing the Movements into the outer reaches of the restrictions of the space and the equipment itself.
Driving back this morning I had a vision of doing a performance using the Gym Rings and spreading the walls of the room around me (studio or purpose built room) with clay and having to go to the extremities to reach and imprint/work the surface of the clay. Some swinging, jumping, stretching etc., upside down, side to side, front to back etc. Working it and working it. Messy, tiring, pushing to the limits. It will need strength, stamina, endurance.
Then perhaps casting the clay carefully to make classical frescoes or using modelling clay that air dries. I like the idea of making something clean and precious from such a instinctive, primordial energy of movement. The being able to Move and make Movement is key. Beautiful and strange.
I would make a film of the performance, I could spread the clay on my studio walls, lots of it just build it up. Or if it was for a Performance show, perhaps in the James Hockey Gallery, the audience could see by there being a wall removed. It could be over a period of time so people could wander in and watch and also maybe have some set viewing times when chairs are set up for an audience.
working the clay during the Life Drawing Movement performance
It might be that I need to warm up with barbells and dumbbells around the floor space and I need to rest and stretch using mats and bands. I might need to do some dancing to get my emotion flowing for the Moves. Or hear music, sounds to set a mood.
The research to start with has got to be how do I get the clay to stick to the walls? If I was going to cast it it could be the cheapest reclaimed clay, lots and lots of it.
Also, thinking about colour. I’m looking for a new colour to use in my Mesmerising painting. I asked someone I know, ‘if I were a colour what would it be?’ I wonder if they will reply and if so, what they will say.
Thinking about purple. It can be dark and related to blue. It can be a bit girlie but maybe the feminine is to be embraced, but womanly…female strength. Maybe a dark, blue, grey purple….
Decided against purple. Whilst I waited to see if I would get a reply to my question about colour, I reflected on which colours. It is all part of my work process. Send out a signal, get a message back, not necessarily from the original source. You make a cause the universe sends an effect back. In my Buddhist days this formed a foundation to my life style, it still feels fairly central, I wouldn’t necessarily call it Buddhist now though. I have broadened my thinking.
Cadmium orange (warmth) Wedgwood blue (shy), and cadmium red (desire). Colour based on emotion.
It is emotion, I realise, that drives my work and makes me chase the white rabbit’s tail. I wrote this after achieving that clarity;
In my Gym Rings practice there is an abstraction of emotion based on fantasy. Or possibly an abstraction of fantasy based on emotion. The emotion is real, so it arrives in a Field of Fantasy and is also the product of a Field of Fantasy. It drives me to work, makes me ready for fitness, dance and Movement.
According to some, our lives are a construct of fantasy. I found this quote today in an Zeitgeist Arts Projects email.
‘No one (Freud announced) lives in the real world. We occupy a space of our own creation-a collage compounded of bits and pieces of actuality arranged into a design determined by our internal perceptions, our hopes, our fears, our anticipations’ (W. Galin)
I would add, our desires and emotions.
Stretching in the studio, cooling down after working with the Rings
14th Jan 2015
Today I spent time playing on the Gym Rings to see what moves I could do. I found a new jump Move. And I tried out some Moves from the Summer and despite the restricted space, I can do a lot. The studio is cold even with two layers of skins on my upper body and a T -shirt. So I will need to layer up more.
To warm up I now run around the buildings. Up and down levels. I am finding spaces I didn’t know before! And people are getting to know I run!
The studio is growing into my skin and becoming. I thought a lot about words and poetry today. Also, I am working with ‘Pairings’. Works in 2s which relate one to the other. The beings which related to each other in my paintings, on handmade Indian paper (for an example see below, one such painting in the making) are now growing into separated pieces which work within and next to each other.
‘Hot’ is about B and A responds within the work to B, expressed through movement and colour. In Mesmerising, it is about A and B will respond to A in colour, yet to be rendered.
Pairing 1, Hot & Mesmerising in the studio
Also, I am beginning to work with words and wrote some poetry today. That resulted in me finding the titles for the paintings. The task was to sum up what is in the painting using one word. Through a poetry process I found the single words for each painting and that was what became the titles.
12th Jan 2015
Work starts and I am painting a Blue Fitness Dance story. I am training to start using the Gym Rings again, after a certain amount of Xmas sugar intake! And specifically working to build strength.
I have been reading about Phenomenology and looking and reading about work by Richard Serra and Anthony Gormley.
Blue Fitness Dance story
oil paint on handmade Indian paper
Blue Fitness Dance story detail
oil paint on handmade Indian paper
‘…it is the person himself [or herself], living in each of his [or her] acts, who permeates every act with his [or her] peculiar character. No knowledge of the nature of love, for instance, or of the nature of judgement, can bring us one step nearer to the knowledge of how person A loves or judges person B; nor can a reference to the contents (values, states of affairs) given in each of these acts furnish this knowledge. But, on the other hand, a glance at the person himself [or herself] and his essence immediately yields a peculiarity for every act that we know him [or her] to execute, and the knowledge of his [or her] “world” yields a peculiarity for the contents of his acts.’
(Max Scheler, The Being of the Person, in The Phenomenology Readers, pub, Routledge, London and New York 2002, p. 205)
‘Every world is at the same time a concrete world, but only as the world of a person….if we consider only one concrete act of a person, this act contains in itself all possible act-essences, and its objective correlate contains all essential factors of world…This structure is valid not only for the real world but also for all possible worlds. This correlate also contains an ultimate peculiarity, an original trait belonging only to the “world” of this person and nobody else…the fact that truth about the world and the absolute world is, in a certain sense, a “personal truth”…is due …to the essential interconnection between person and world.’
(Scheler, Routledge, London and New York, 2002, p. 210.)
My work is about the connection between inner and outer worlds. Movement marks the moment of connectedness. Within the paintings there exists the relationship which has occurred in the exchange of a moment of connection and all the other possibilities in the world. What I refer to as The Spaces Inbetween which contain the possibility of Nothingness alongside Infinite Possibilities. These I will draw in with ink once the oil is dry.