‘This work represents an organic timepiece, with each individual painting standing as an irregular measure of duration or unit of time.'
''In working from life the self-portrait allows me to intensely observe the passing of the present, as it coincides with my reflected face. The experience of time varied within the creation of each piece. As such the work alludes to the asynchronous shape of time where each experience is relative its own frame of reference, as opposed to the universally even mechanism of Newton’s clock time.
The temporal nature of the work was only enhanced by the copper support, a material visibly sensitive to processes of change within time. Consequently the support has its own record of the negotiation that took place between my mark making and its active surface. In this case chemically enhanced by the addition of salts and acids.
Confronting the reality of my own mortality within this process becomes inevitable. I was interested in how the direct engagement of my gaze in the mirror translated into my painted self, whose gaze in turn captured the viewers. Drawing the viewer into looking closely at something that is inherently humble and vulnerable to time, which in turn reflects their own vulnerability.’
