These paintings are depictions of colour in a specific moment. The time of day and the way they are hung in the room affect the moment we perceive the paintings, because the perception of colour relies on its interaction with light. These paintings make us question the colours we see. They question the way the colour of paint appears, based on the density of pigment and the amount of light each individual pigment reflects. The paintings thus balance between relying on the light in the room and emanating brightness in their own right.
This work is not so much about painting as it is about paint. There is very little evidence of the painter – the surfaces of the paintings appear mechanical rather than expressive. The painter does not intend to express emotion or evoke experience. The act of painting becomes the act of maximising the fundamental materials of pigment and light. When presented on such a grand scale, colour and the perception of it are subject to interference and change. They seem to take on abstract functions, to become more than, and other than, themselves.