An enigmatic sign, the figure/form ‘X’ conjures multiple meanings as a symbol, number and text. Traversing cultures, beliefs and knowledge systems, an X can prohibit and denounce, approve and correct, combine and connect. As a figure, X expresses human presence - from a mark found in prehistoric caves to the symbol for a female chromosome universal to women and men. It encapsulates mystery and allure – an unknown variable, an axis on a map, sign of hidden treasure and signifies special qualities, the ‘X-factor’. View


Exploring the relationship between subject and object, the upright I-form connects directly with the viewer.  Devoid of expressive content, these abstract figures remain open to the viewer’s unique idea of ‘self’. With each new viewer, the ‘I’ is inclusive. The singular subjective becomes a potentially objective collective. A Roman numeral meaning One or First, the ‘I’ asserts primacy, commences a sequence, and refers to origins and authenticity.  Within Western psychology and philosophy, the I-figure connects with intangible realms of consciousness, self-reflection and spirituality. In te reo Māori, 'I' connects the spoken work with the past tense and in many Asian cultures, it is the sound for 'love'. View

Glazed I’s

The Glazed I's transform the properties of glass into a deep meditation with the notions of self, subject and object. No longer a protective layer covering and mediating independent artworks, the I-glass is instead a liminal sheath, the membrane mediating between states of being. ‘Glazed I’s’ infer impaired vision and blurring of content yet the I-form sharpens the viewer's focus. Proposing a succession of characters or personalities, each I-figure invites its beholder to physically and philosophically occupy the notion of 'self' as they consider the artwork, the environment, and their own reflections. View

The Allegory

Text based visual images and shapes, across a range of media, explore the idea of an allergory – a form of narrative and/or visual image that extends or sustains meanings.  Testing a founding premise of minimalism, ‘less is more’, the artworks take a reductive approach to materials, form and content, while generating compound images and meanings. View

Still Painting

The Still Paintings document the relationship between painting/art and its environment. Embedded texts are revealed via short and long term exposure to ultraviolet light. Harnessing the ‘harsh New Zealand light’ praised by modernist painters and feared by art conservators, the Still Painting requires new conservation conventions. In a reversal of genre and process, the landscape does the painting. View


Grass Work

Wall hung and alive, the Grass Work is constructed from specially prepared turf, selected for each artwork depending on its intentions. Minutely hand-stitched to canvas and board supports, the swathe of earth expands the idea of a painterly substrate. The ubiquitous grass, a Duchampian-like readymade, is set into constant reproduction and endless cycles of growth and dormancy, becoming a 'beingmade' – a term coined by the artist to describe permanent art objects that remain in flux via internal operating systems, performative materials, and contextual, environmental, and time-based interventions. View

The object demands attention and carves a direct relationship between artwork, environment, architecture, viewer, curator and collector. Although formally constructed within the frames of minimalism and geometric abstraction, aesthetic fields often experienced as cool and distant, the Grass Work creates a new organic abstraction – tactile, unruly, needy, warm and wet. View

Magnetic Fields

Defying gravity, the magnetic fields offer surreal metallic landscapes connected with the pulling power of the moon. Thousands of polished steel shafts hover and project from linen membranes, suspending the process of making and presenting art in a state of flux. Cold metal and needle sharp points contrast with the work's seductive beauty and illusion of fragility. In a play of movement, shadow and light, the surface renders impressionist brushstrokes or expressionist gestures. Light plays on the steel, shadows rake and create a fringe on the wall.  Fine hair-like surfaces tempt touch and close inspection, risking a prick to soft skin or poke in the eye. View

Concrete Art

Wall hung and featherweight, the psuedo-concrete block works delve into cultural, metaphysical and structural foundations. Absorbing warmth by day and emitting heat at night, the block grid mimics both the function and form of the ubiquitous concrete block, a standard unit of construction. Precisely carved, compressed and framed, the work adds warmth to a modernist ‘concrete art’ movement which stripped emotion from abstraction and placed it within a context of nation-building ideals. View

Nappy Work

Repeating units of stacked newborn nappies/diapers stretch open in a soft and absorbing monochromatic grid. Estimated to take over 500 years to breakdown in landfill, the 'disposable work' contests art conservation conventions. Hundreds of unused readymade units morph into transactional beingmades which discretely absorb, swell and recede while padding substrates and walls, dampening noise and loading space with meaning. Feelings of vulnerability, nakedness, and memory expand into values-based questions about humanity, culture, conservation and universality. View


Exterior Frames

Blending portraiture and landscape conventions, the Frames capture, reflect and absorb view and viewer. Where a frame typically outlines, contains and fixes one image, these works offer multiple layered images in constant flux, agnostic as to perspective. Material qualities are hinged to external conditions, creating further shifts in depth, transparency, reflection, shadow and light. View

Interior Frames

Within the containment of architectural space, the interior Frames develop a tight and direct relationship between the body, the artwork, and the context. Initial focus tends towards what appears to be narrowed down or missing, including a defined or complete sense of self. A desire to navigate, prompted by the work, shifts the viewer's perceptions and brings a wider range of material qualities and ideas into focus.  Presence and absence become more fluid, and a form of release emerges from within the work's formal constraints. View