About

 

I am from UK, but emerged with some public recognition in 2011 in Reykjavik, Iceland with my first solo show entitled, “TRANSGRESS, ramma fyrir ramma”. Since then, I exhibited subtle yet provocatively honest figurative paintings through many subsequent collections. I am also known in Reykjavik for an affinity with Icelandic artists, resulting in sculptural and theatrical collaborations. Most of the press coverage I have received has been in Reykjavik.

More recently, since my return to UK in 2016, I have been exploring dimensions of consciousness, from existential ‘separateness’ to deeper and more intimate expressions of unity. This journey has marked a significant shift towards a deeper mysticism in my work.

I currently work with combinations of geometric form on canvas. In alchemical terms they function much like machines that hold in their opening forms, transformative energies. I am intrigued mostly by the potential effect each composition has on me and the viewer.

Recently I submitted a PHD proposal to Bath Spa University, to explore a more direct application of the frequencies apparent in the work. I am interested in finding ways of more directly transferring these transformative energies to the viewer. I am working closely with a professor at Bath Spa to secure other supervisors. Whether or not I am successful, I will be carrying out this research at my current residency, at the 'Mycelium Network' in Frome, Somerset.

I work on large scale canvases and have been spending over a year on each piece. This process seems to be speeding up. When I am guided to apply a mark, or line or some form, the painting moves to a new stage that seems to reflect something that is developing in my personal process of self-discovery.  Between these stages I work on a smaller scale, testing various geometric ideas and symbolic forms with natural substances that I use to paint with. Each substance seems to offer a different feeling and various combinations of these substances play a significant role in the overall effect of each piece. Sometimes these tests inform the next stage on the main painting I’m working on, adding up to a kind of language that guides my reflective development.

I am currently waiting to hear from UK/US publishers about the submission of a deck of 49 “Oracle Cards” I have developed from these tests. This grew out of an intention to experiment with processes of intuitively reading their frequencies for people in the context of their lives, providing a more direct experience of their chose image. I have already tried this many times with very satisfying results.

Recently the concept of LIGHTCODES has come into my radar. These are combinations of forms, mostly geometric, said to hold specific frequencies. They can be used by a trained practitioner to heal or enhance the progress of a patient’s self-development. Each form has specific psychological effects when transferred by the practitioner. Interestingly there are different kinds of Light-codes, said to be channeled from deep layers of the sub-conscious or trans-personal psyche.
My own journey with each canvas seems to be something that happens beyond my will or intention. I am curious about the level to which my own ‘Light-codes’ are channeled, and where from. An idea will come to my mind one day to explore something, and it will lead to a very clear sense that I must apply that conceptual form to the canvas. It feels like I get told what to do. These moments of directional clarity are always dependent on some sort of awakening or realization that has occurred in my meditation.

 

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