My process consists of looking at abstract art as a visual language through an investigation of form in painting. I am aware of my surroundings and the socio-political landscape in which I am creating art. Abstraction becomes a means of musical influence and improvisation in my paintings. Repetition and the multiplicity of form in geometric abstraction has been examined in my painting practice, through a meditative visual language of colour. Geometric abstraction has been taken further in my work by examining these prospects of shape and colour through a critical lens in my evolving practice.
I create paintings that are consciously influenced by geometric abstraction and colour theory from the Bauhaus era; namely artists Josef Albers and Wassily Kandinsky. While painting, I reflect on textural rhythms of colour; the frequencies of visual patterns and shifting geometric forms.
Synesthesia (the phenomenon of hearing and seeing colours) is a musical and artistic notion that links to my thought and visual processes of colour and shape in my art practice. The process of listening to classical and contemporary piano music, or even thinking about music notation in an abstract sense, alters my perception of colour and geometric forms in painting. Like composing a musical piece, I feel my artworks are created in a similar way through rhythm and the ritual of laying down the tape on the substrate. The movement and energy in the music is translated into the building up of abstract geometry depicted in the works.