Born in Singapore, lives on Bidjigal lands, Sydney, Australia.

Educated at the Sydney College of the Arts, University of Sydney, and the Hochschule der Kunste, Berlin. Group and solo exhibitions in Europe, North and South America and the Asia Pacific region.

ROAR: Testifying the Breaking Point

By acknowledging both the constructive and destructive aspects of 20th century avant garde painting, it is possible to compose works from beyond the strictures of dogma, orthodoxy or style. However, for this to happen a paradigm shift in thinking is necessary to frame the endeavour, as the legacy of freedom to create outside such limitations is not an individual freedom, but a shared freedom, and the viewer is inextricably connected to this abstract space.

Paintings can therefore be considered as examples of open platform learning that offer an independent method of cognition: independent of written or verbal language or established symbolic or codified signification. Existing within the format of abstract painting, they are part of a tradition that breaks tradition, and operate on the senses in the way that music does: as vibrations or currents. The relationship between analog and electrified sound and an acoustic and visual sensibility then provides a potential for recognising the possibilities for paintings on canvas and how they are and could be transmitted both subtly and electronically.

The specificity of the medium of painting and the three-dimensional boundary of the stretcher frame enable a vastness of spatial vibration that reverberates across architectures both real and imagined. In other words, a kind of harmonic mind blowing that is concrete and untethered. Their geometric rhythm is as close to works from the Dutch Golden Age of the 1600s, the international avant garde in Paris in 1912 and Emily Kngwarreye’s 1990s Utopia canvases as they are to alto saxophonist Albert Ayler’s 1965 album ‘Spiritual Unity’ and The Beatles’ 1968 ‘White Album’, while their status as unique is beholden in the paint.

RMS 2021

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