Visual art is notoriously ‘open’ to interpretation. However, Umberto Eco, in The Open Work (1989), proposed that ‘openness’ can be enhanced when a form itself is ambiguous or indeterminate. This is one the central themes of my ongoing research and practice. 

 

As a means to employ ambiguity, I endeavour to situate my work in a space between extremes, a kind of middle ground between opposing elements. I am not interested in a singular, central ideal. Instead I consider a series of sliding scales, along which my work sits. My starting point has been deconstructing the rigid minimalist grid and reconstructing it out of pliable materials, thereby playing with the boundaries between order and chaos, chance and determinacy, rigidity and fluidity, surface and sculpture, etc. Much inspiration has come from Karla Black and Leonor Antunes, whose works embrace material experience. I also aim to utilize the qualities of materials, but reject artificial colour and excessive manipulation, such that elements remain distinguishable. White is used principally for its affinity with the conventions of the white gallery space, for the work explores art itself.