My research was initiated by a curiosity in how pattern and the repeat operate (within the seemingly static field of the canvas) as a form-based language within the context of contemporary painting (Corridoni: 1996), allowing the artist to code/encode/decode their vision. The actual structure of this pattern/code is considered in relationship to the Deleuzian concept of the liminal space, the 'between'that enables the form to exist at all (Sprick: 2012).
My current research troubles this traditional view of painting: it intends to re-stage the liminal as a 'charged gap', a kind of bruise between the event (Lyotard, Heidegger) and the trace (Derrida), creating at one and the same time a 'hole' and the 'whole'; the breach between absence and desire (Lacan). My research aims to move beyond these usual suspects within post-structuralism and post-modernism: it requires a return to alchemy and the transubstantiation of sense.
Ever since Paul Delaroche first declared "painting is dead", worries about its health have remained the focus of painters and critics alike. My research will return to 18th and 19thC concepts of enlightenment, alchemy and the mutability of material, sense and the erotic, in order to breathe new vitality into 'old wine'.