These works are an exploration of how we reveal ourselves through moments in time, how what we reveal is also a revelation about the world, and what happens when we gather together those moments in time. What do layers of surrender reveal? What Patterns emerge when time is not a barrier?

I am interested in combining the spontaneity and improvisation associated with action painting, and the expressive potential of individual gestures associated with gestural abstraction. By capturing individual gestures on individual pieces of paper I am enhancing the illusion of a world dominated by subject/object separation. I then unmask this illusion by digitally merging the individual gestures―through an iterative series of computational processes which affect a kind of temporal compression―to reveal a coherent visual whole. The beauty of the final digital image is evidence of unity, connection and meaning existing beyond what otherwise appears to be a reality of fragmentation and separation.

The process breaks down the myth of the individual painter genius, often associated with abstract expressionism. Instead, it shows that an overall effect―an idea of particular importance to Rosenberg in his writing about Pollack, de Kooning et al―can emerge without any one person being the centre of it all. The layers of marks and gestures create a coherence that exists beyond any individual's conscious efforts.

A Sōryū (創流) painting session involves making a series single gestural brush strokes on separate pieces paper. While in Japan, I have been using traditional Japanese calligraphy materials; sumi (ink), washi (paper), fude (brush). I am interested in bringing my style of painting to local materials.

When I make these brush strokes I attempt to not think or plan, to simply begin the brush stroke and then respond to the brush stroke as it is being made.

The process heuristics are about trusting intuition and serendipity, preserving the truth of a moment as it happens, without judgement or conscious editorial intervention. The heuristics are a process (a system) from which emerged both constraints and affordances. The constraints and affordances emerge from my embodied agency (action-in-context). The context is an assemblage of relationships—rather than a collection of things—between paper, brush, ink, my embodied self, desk, chair, room, etc.

A self—which includes all of my past artistic practice—is making the art work. And at the same time, I don’t end at my skin—in the words of Alan Watts, I am something the whole universe is doing in the same way that a wave is something that the whole ocean is doing.