To truly capture moments in this world, whether they are natural phenomena or emotionally fragile conditions held by humans, one has to immerse one’s self in the situation with more than just one’s sight. My subject fluctuates between vaguely literal seascape based spaces and more ambiguous space that often takes the shape of a theatre structure; a dramatic suggestion of stage sets and theatrical, atmospheric space, which suggests the same endlessness that the seascape paintings have. The stage paintings attain more DETAIL, which evokes a claustrophobic, readable room or auditorium. Within these spaces, the presence of the psyche takes on the form of the character within a setting, which pertains to the theatrical. There can only be dark through light (or its absence) and how suggestions of physical space with

the absence of figure say as much, in that absence and through suggestion about physical presence rendering the figurative needless within the building up of portraiture through object.

The works convey a painterly sensitivity and subtly towards veiling and creating transparent light effects and evoke a sense of place. In both areas of my practice the work retains a cinematic quality capturing a lapse of time, which in my eyes is being truly cinematic: the appreciation for nature and the constantly changing surroundings. Situations can be so ephemeral, I wish for the audience of my work to be immersed in this suspended moment. The paintings are a true display of conscious, the phenomenological experience that goes beyond the literal and the visual qualities of the landscape and combining it with a deepened understanding of what affects the consciousness.