In recent months there has been a development in the context of my practice which has led to considering the relationship between semiotics and the written word or code as language. The work attempts to engage the proposition of the symbol and the role of texts as systems of informative signs, the purpose of these forms as symbols or text becomes less defined the further back in history we look. A series of symbols/text dated 5260BC could be passed as contemporary art, but yet it was codex for people to communicate.
The hybridity of these forms is the basis of new work to be made; the purpose of the forms becomes blurred questioning written literacy and its dependence on the visual symbol, blurring the defining line of visual and literal.
The work questions what contemporary abstraction is, and the reference to the history of painting remains to be a source of study. I employ the discipline of painting as the media of choice however the practice of printmaking is emerging as a second important medium to make work. The relationship of printmaking to the written word has cause for further debate within the practice.
The process of making is an important factor in the practice, the handmade equates to a directness with the ideology. The mechanical and the photographic are elements unsuitable to the ethos of the practice. Craft and skill although often questioned in contemporary art, are an essential factor in the work made, contrasting the mechanicalness of the literal and its need for reproduction.