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.
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.