My practice is concerned with the subtle capabilities of painting. A stretched canvas is already a beautiful thing, and anything added to it after is simply a bonus. The grid becomes a tool to navigate the confides of the canvas and to house colour. Sketches of lines and forms are blurred as I create works using layered washes of paint, colours are built on top of one another to create my compositions with the ultimate focus being on the materiality of the canvas itself. Guiding the image; often parts being left completely untouched.

The stretching process is important. You have to put in lots of effort to know where all the good bits are. Stretching on the floor leads to lovely marks so it’s preferable. Canvas like any fabric has creases and lines – which is nice. Once you stretch it put it on the wall and now the light is on it and it’s suspended in space. You then stare until something gives you an idea of what you’re doing. On the left side is a black mark like a star. In the centre is a crease stretching from the top to the bottom, I’ll leave that in.

“[T]he bottom line of the grid is a naked and determined materialism”

– Rosalind Krauss