Wall works and installation
Works on paper



Ink Drawings (2018- )

All the drawings are on A3 paper, done with brush and ink. They are about isolating brush strokes from my larger works and attempting to draw without the gesso substrate I normally use. Often these preliminary brushstrokes are based on the undulating movements of bodies in baroque and renaissance sculpture--like those of Corradini, Bernini and Giambologna.

Reorganization of One Hedge (Rachel Ruysch) (2016)

This magazine intervention is part of the larger project Beating the Bush, a brief description of which can be found in the section below. In this particular project, I reorganized photographs of leaves from one bush into a Dutch still-life that was later reorganized into different types of inventories. The centrefold, for example, simply shows all the leaves used in the collage laid out according to shape and size. These reorganizations are interspersed throughout BlackFlash Magazine, thus interrupting the linear flow of the publication.

Collage from "Beating the Bush" (2015-16)

As part of the larger project Beating the Bush, various types of collages were made by rearranging photographs of leaves from one plant, the Common Laurel. Photographed over the course of months, the leaves of the shrub were isolated in Photoshop and used as brush strokes to make new collages. Some of these collages took the form of large-scale digitally arranged gradients, reproductions of Dutch still-lifes, as well as handmade collages that were produced by printing and individually cutting out each leaf.

Collage and Drawing (2013-14)

I was concerned with making landscapes at the time, but I didn't want to make horizontal works that depicted a nature to be admired and consumed. Instead I made a few portraits of animals found in nature. The works are a combination of collage and paint and are made in conjunction with my panoramic drawing, Panorama, found in Wall works and installation.

Drawing (2007-13)

These drawings are made using a technique of tracing pattern, often architecture but also wallpaper motifs, and then weaving gestural strokes of paint into it. The paint is later traced to explore the relation between different ways of mark making.

Everything That's Lost - a response by Daniel Colussi