My practice explores the theme of memory and the tracing of the past through a series of sculptural paintings. The non-representational approach to documenting my personal life and whereabouts, is carried out through a range of rubbings of surfaces that I have encountered on a day to day basis. The importance of these marks being unknown, is the driving force to creating my work, as it allows each individual viewer to have their own personal connection and vision of where these marks might have been found.

​

The hidden aspects and diverse layers uncovered highlights a reoccurring theme of palimpsest. The layers shown often reveal changes that have happened to its original surfaces, those that include environmental factors, restorers or vandals. Therefore, I find that the surface today is not what the surface was once before or might be in the future. It is then especially important to not lose the sense of the original linear drawings, as they are made into stencils of various thicknesses and sizes. This gives the concept of them being drawings, which is almost transferred directly into what eventually will be a painting. The thickness of the oil paint allows the individual marks to have a three-dimensional feel, almost bringing it to life but with a delicate and almost fragile feel.

​

Whether a collection of maquettes tells a story, or they relate within a specific theme of a particular feeling or a connection, they all record the places I have been to with a high significance.