In Bad Faith
In order to see inwards I have to look outwards, and outwards, inwards, I, I, I.
How does one paint in a photograph? This singular question forms the basis of inquiry for the work where I address my innate desire to paint, but I cannot do so out of fear of losing faith in myself. Thus, I seek to provide limited freedom by adopting an experimental approach to permit spontaneity and the ability to explore at a semi-unrestrained level.In Bad Faith explores the act of deliberately denying oneself choices and yielding to an imaginary figure that is an image of self-imposed expectations. To which to say, what figure can be more significant than the self? This self-imposed limitation stems from a fear of embracing the full extent of my freedom, opting instead for the illusion of constraint.
The illusion of constraint is visualised through the experimental process of chemigrams. Chemigrams create an image by forcing a chemical reaction between photographic paper and chemistry. By exposing a piece of black-and-white silver gelatin paper coated with a resist, I am opening up the possibilities of all kinds of images—and answers that form in the image.
Exhibition Views from common daisies, 2024