The main thing wrong with painting is that it is a rectangular plane placed flat against a wall.
All Night on the Road is a series of paintings where some poems by Melinda Smith are encoded in a system of colours and shapes. By setting up rules for the construction of the paintings I was trying to see if a visual pattern of language emerged in the paintings. Most of the poems I used were haiku, and so the paintings were arranged as triptychs. The title of each work is the entire poem in most cases.
I was also playing around in that tricky space between paintings and objects. These works don’t always behave like paintings: they are partially transparent and the paint itself is not on the surface. They don’t sit flat against a wall but lean and cast their own shadows. At first glance they look manufactured but are in fact meticulously hand painted. They are utterly formal works but their titles are poetic.