Feb 2024

A branching tree, the veins of a leaf, the spiral of a shell, the ridges of a fingerprint.

I am drawn to the experience of recognising a form in another place. Something appears familiar, even as its scale, material and purpose change.

That recognition opens a question.

How can forms resemble one another while remaining entirely particular?

I do not assume that every resemblance carries the same explanation. A shell and a fingerprint have different histories of formation. Their visual proximity, however, gives me a way to think about the relationship between recurrence and difference.

This relationship matters within my paintings. A repeated element acquires meaning through its position, its surrounding space and its encounter with other elements. What returns is also changed by where it returns.

It is one reason patterns continue to hold my attention. They let me consider continuity without requiring sameness.

My interest in oneness develops through this distinction. I want to understand connection in a way that preserves the particular: the individual mark, the individual life, the detail that resists being absorbed into a general idea.

Looking at a pattern, I can follow the larger structure. Looking again, I begin to notice its variations.

Both ways of seeing are necessary.

Perhaps the work asks us to move between them: to recognise the whole, then return to what makes each part irreplaceable.