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The roots of these paintings are fragments. Forms that appear grotesque, hollowed or as though composed of splintered fields are spliced together in oneiric landscapes. Their content and process are a sort of sabotage – deformed protagonists appear caught in the act of breaking and in turn collide with the push and pull of paint. If this is aestheticising destruction, it is only in an ironic hope to interrogate conflict that surrounds drone warfare, blind consumption and the massacre of living things.
The lines in the collection of stones exhibited here provide a surface of exchange for the intersection of language and surface. Existing in a fragmented state of containment, they are small monuments to the etymology of words and the play of materiality and language – itself a living thing.