THE PROJECT BEGAN AS AN INVESTIGATION INTO THE PHYSICALITY OF PAINT WITHIN ABSTRACT ART, FOCUSING ON HOW MATERIAL, GESTURE, AND PROCESS CAN ALTER AND REDEFINE ONE ANOTHER. THROUGH EXPERIMENTATION, THE WORK EVOLVED INTO A LARGE-SCALE EXPLORATION OF COLOUR AND ITS TRANSFORMATIVE POTENTIAL THROUGH JUXTAPOSITION.

I SQUEEGED ACRYLIC PAINT ONTO PAPER TO CREATE LARGE ABSTRACT FORMS, BEFORE DILUTING AND REINTRODUCED USING A NOZZLE BOTTLE. THIS ALLOWED FOR MORE GESTURAL, LAYERED APPLICATIONS, WHERE FINER DETAILS OVERLAPPED BROADER FIELDS OF COLOUR, GENERATING COMPLEX INTERACTIONS AND CONTRASTS.

FOR THIS EXHIBITION I INVITED VIEWERS TO ENGAGE WITH THE WORK ON MULTIPLE LEVELS. FROM A DISTANCE, BOLD CLASHES OF COLOUR DOMINATE THE VISUAL EXPERIENCE, AND UP CLOSE, MORE INTRICATE RELATIONSHIPS AND SUBTLE VARIATIONS EMERGE WITHIN THE INDIVIDUAL SECTIONS. THIS DUALITY ENCOURAGED BOTH IMMEDIATE IMPACT AND SUSTAINED OBSERVATION.

WHILE INITIALLY, THIS PROJECT WAS ROOTED IN AN EXPLORATION OF TEXTURE AND MATERIALITY, THE FINAL OUTCOME DELIBERATELY SHIFTS AWAY FROM COHESIVE COMPOSITION. INSTEAD, I RESISTED TRADITIONAL AESTHETIC HARMONY. COLOUR IS TREATED AS AN EXPLORATION, EXISTING NOT TO PLEASE, BUT TO CHALLENGE AND TRANSFORM ITS SURROUNDINGS.

ULTIMATELY, THE PROJECT QUESTIONS THE ROLE OF THE VIEWER: WHETHER AN AUDIENCE IS WILLING TO ENGAGE WITH AN OVERWHELMING AND AT TIMES CONFRONTATIONAL VISUAL FIELD, AND WHETHER THEY CAN PARTICIPATE IN THE SAME SPIRIT OF EXPERIMENTATION THAT I USED TO CREATE THE WORK ITSELF.