In the series Primal Relations, the focus was on interactions and the physicality of negative space. My research moved slightly away from the complications imbued in emotional content. I stepped back a little to concern myself more with the more general narrative. The newer work centres around the Argentine writer Borges’ term ‘poetic faith’and the supremacy of continuity over factual truths in our investigations ofnarratives.
I am currently investigating the terms limbo and suspense through my paintings and drawings. I see myself as a director, or an assembler of conversationswherein the participants - be it animals, objects or persons - are frozen in astate of limbo; leaving it up to the viewer to infuse meaning or narrative. I want to present the compositions as screenplays, but plays devoid of scripts - epic dramas withoutaction or movement. The moments they depict do not exist, and have neverexisted, yet they are not untrue. For me, they are not mere documentations, butemerge as validations of time and self through the arduous process ofmaking.