I wrote a text to go with this exhibition. I was thinking (and have been thinking for a long time now) how messed up it is that genocide on Palestinian people is somehow imperceivable to so many.

I don't make work that is overtly political. I prefer to notice how politics seeps in and soaks through how and what I make. It's more of a feeling response, than rigorous intellect. I'm into how our senses... our bodies and brains receive, process, learn, and respond in multiple ways.

In a world where many of us don't have the resource of time to study and think, we have to work in piecemeal and at whatever pace we can manage. This makes for a weird mix of order. But slowly, if you're open to that and chilled about it, then interesting things happen.

We may be able to perceive what is right there in plain sight, and we might be able to persist in our humility to join up with other people trying to figure shit out.

At our roots, I'm convinced we all... well, most people (and I truly hate generalisations, but in this case, I have to be an optimist) feel it. Most people feel it. Compassion and humanity. But living under capitalism those attributes tend to get stolen from us in order to maintain the status quo.

I realise I just wrote you a preface. So it goes...

Imperceivable (until it isn't)

Scrumpleface.
Pinchmouth.
Browsdrawn.
Eyes to the side.
And down.

Letting a thought meander.

'thing is, we do know a bunch of stuff.
don’t we?

We feel it.

Gary Economics looked straight into the camera and relayed a question he’s often asked:
“So, why aren’t you in politics?”
PAUSE.
LOOK.
“I am in politics.”

Unless they get lost in the post, 'Imperceivable (until it isn't)' literally brings together 9 paintings. Using cables/cords/tendrils. Joining them into one large THING.

A painting pretending to be a sculpture? The other way around? Scenery? Architecture? Or... maybe neither, none, nothing.

Well, it is something.

I'm hoping you'll be able to go inside it. If you want to. You'll certainly be able to move around it.

You won’t know what I do, so roughly it goes a little something like this: practising artist since 2000, ping-ponging painting, sculpture, drawing—responding to my surroundings, circumstances, situation, and whatever space may temporarily host my art.

I love the enigmatic languages of abstraction: colour, texture, form. COMPLEXITY. Nuance. The murky spaces in between, where things might look a bit like they’ve gone wrong. Wrong according to who though?

The reason why things are the way they are.

Behind a behaviour there’s always a feeling > behind a feeling > there’s always a reason… reasons.

Spinelift.
Shoulderswide.
Lungsfill.
Out.
And out.