I see vastness in black. Looking into it, I become aware of how much can exist within what first appears to be a single colour. Small changes in the surface begin to matter: a raised edge, a softer passage, a mark that becomes visible only as the light moves.

In the studio, this makes black a demanding colour to work with. I have to look closely at where it feels open and where it becomes too dense. The placement of a form can change the depth around it. Even a small interruption can alter how far the eye seems able to travel.

I want that depth to remain available to the viewer. A black surface can ask for time. As I work, I keep returning to the relationship between what the painting reveals immediately and what becomes perceptible through staying with it.