The culture and language of abstraction fascinates me, specifically its history bound with Modernism. In exploring the graphic language of abstract painting and commercial design, I recognise these visual characteristics overlap in the outside world today; where interference between hard-edge painting and geometric design alter abstraction’s meaning.
As opposed to the self-reflective traditions of Modernism which were detached from the outside world. My work is referential and repositions this history beside commercially recognisable geometries of the industrial landscape today. Focusing on signage, I utilise the semantics of constructed pictorial devices (coding, identification) and employ these through the gesture of a painted surface.
In re-appropriating found graphic design/industrial material, abstraction and its universal commercial design counterpart co-exist on canvas; this assemblage of mediums blurs distinctions between abstract painting and the familiar built environment.