In my current practise, I create uncanny works that oscillate between sculpture and painting using appropriated images from a variety of printed sources. My practise is predicated on the objecthood of painting. The frame and physical extensions of my paintings create a portal for the viewer into the virtual space of the work while simultaneously playing with the tangible to reveal the illusion that the image sustains. Indispensable to my practise, I intentionally use the illusionistic and tactile properties of painting to emphasise interactivity, questioning the nature of reality and reproduction. Frame, acrylic, aluminium, and paint are some of the instruments I have used that embody and contribute to the artificial and physical properties of images. The works offer a startling duplexity to the contemporary image—comprising the subjective and the objective, the internal and the external, the real and the fictitious. 

I aim to subvert the way we look at pictures with new ways of image-making. The tactile approach to image-making draws the viewer in and plays with the relationship between two and three dimensions, with the sculptural element rendering it a more speculative object to divulge the meaning of a picture. The language shifts when the perception of the viewer is altered by the tactile presence of the work, semantically pointing to the material attributes of pictures as objects. By lifting the images out of their original context, the works allow for a new transitory nature that evokes free association and perception.