In the act of painting a painting, I have always been conscious of how I paint and the way in which paint comes in contact with the surface of the canvas or wood. The motion, gesture or force in which the paint is applied is all a part of making marks onto surface.
In many of my earlier works, I was already aware of how I wanted the paint to appear on the surface, and made attempts even to hide certain brushstroke characteristics in the art. It was the intention of wanting complexity or mystery to the application of paint to surface.
I was equally fascinated by Chinese calligraphy, and how effortless some appeared to be; although there were some I could see, were very intentional.
In the Flow Series, my working tools are a brush and a painting cloth. Globs of paint is vigorously applied onto the canvas. Subsequently, a wet cloth is used to spread the paint to create a ‘ground’ or first layer. There is no desire to represent, but to allow the colours to interact and resonate. It is purely abstract, yet there are feelings or emotions that surface. The sweeping and gentle pull of the cloth as it streaked the surface of the canvas is exciting and innately pleasurable.