Opuscula / Opusculum
2017

Calligraphic ink amidst white and silver paint - abound in equal measure - interplay within a textural surface. Opuscula recalls the contextual references of a prior series, Substitute for Sorrow (2017). The raw nature and disruptive processes grant the viewer an immediate relationship between themselves and the work - to be directly present and be confronted by the canvas (rather than shielded by a surface layer of structured Plexiglas, which was the main construct of earlier works). At times gestural - and almost alluding to 'action painting' tropes - a balance between the colourations seemingly lifts the imagery beyond the canvas; synchronously inhibiting a gentle resistance of visual definition. Yet, a seemingly repetitive narrative emerges, as though rising from the ashen landscape, where the rhythmic ink and paint stains collectively seek dominance.

To refer to the philosophical notion of supervenience (the dependence of one property or quality on another for its existence), the intensity of pigmentation amassed throughout the canvas, on the one hand, subjects the viewer to a multitude of visual intimations yet, on the other, reduces the clarity of a focal point. Thus, a chorus of variance and resemblance play on equal contextual terms that allow for residual sentiments to be collectively preserved within the alluded scenery of the work.