I paint by building up layers of acrylic, then working into them until forms emerge. I'm interested in forms that are discovered rather than planned.
How much control I actually have over what surfaces is the question I keep circling, since the painting usually wins that negotiation.
With pieces of silicone cut from squeegees, I intuitively draw into a network of random painted lines to create a ground of marks and shapes. Brushed lines add further density and chaos that deepen the argument with what's emerging, rather than settle it. Somewhere in the density, I begin picking out shapes and forms - an antidote to the chaos, and a way of untangling what I've tangled.
Ambiguous presences begin to surface this way, sometimes resolving into human or animal-like forms - playful, shifting figures that echo Pareidolia, our tendency to perceive familiar images within randomness.
What's underneath a surface doesn't disappear. What's buried doesn't leave. It resurfaces, uninvited. It isn't fixed. It's whatever each viewer brings to meet it.