Membrane Art: an evolving expression In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The effects created on the curved surface would re-enact the ‘completeness’ of our natural world (containing multidimensional values) and when the results are unraveled and revealed on the 2D picture plane, the compression of depth would generate the human visual experience, thus being a metaphor for how we observe.
I’ve since experimented with numerous ways of curving the surfaces I work on. I’ve also discovered that besides paint pourings and the effects of gravity, I can apply alternative methods to create results that aren’t otherwise possible. Thus the actual membrane itself underpins the aesthetics of each piece, and the degree of simplicity or complexity can be regulated and enhanced by it.
Painting this way stems directly from our current understandings of nature and how we (might) observe it, particularly in quantum physics ― where we are to believe that nature is probabilistic and far more complex and stranger than the classical one we intuitively know. Liberating the canvas allows me to engage with the ‘completeness’ of space and surface. Similar to the way that things may appear in nature at the atomic level ― we may not fully comprehend the methods and sequences that allow it to be the way it is but it seems to form part of our inherited reality.
This ‘aesthetic thought’ has enabled me to evolve and develop a body of work that I refer to as ‘Membrane Art’. Whatever its ultimate value, it is without doubt the key influence and structural basis of my art practice.