In ’Frameworks’, actual artworks by other people are utilised and the motif has been removed as a consequence of synopsis. The canvases transcend their original purpose, and are transformed into a technique in their own right as a reaction to the fundamentally different practices and traditions in painting in general. The materials possess an immanent history, seemingly irrelevant on the surface, though essential in their new context, where they visualise a kind of void or ongoing space. The observer is presented to a very personal portrait of the entropy of painting.
The materials for frameworks have been acquired in a very eclectic manner. They are swapped, bought, exchanged, received as a gift or found, and so the interpretation of the works requires the observer to think about ownership, authorship, authenticity and originality. The result of this process is an impotent manifestation of a medium in constant flux.
Also included is a series of new ceramic works.