In the act of painting a painting, I have always been conscious of how I paint and the way in which paint comes in contact with the surface of the canvas or wood. The motion, gesture or force in which the paint is applied is all a part of making marks onto surface.
In many of my earlier works, I was already aware of how I wanted the paint to appear on the surface, and made attempts even to hide certain brushstroke characteristics in the art. It was the intentionality of wanting complexity or mystery to the application of paint to surface.
I was equally fascinated by Chinese calligraphy, and how effortless some appeared to be; although there were some I could see, were very intentional.
In the Abstract Series 2015, my working tools in this case is both a brush and a painting cloth. I apply the paint first with a brush, vigorously putting on globs of paint onto the canvas. Subsequently, I use a wetted cloth to spread the paint to create my ‘ground’ or first layer.At this stage, there is nothing I am trying to create that is intentional. That is, until now, and the beginning of the artwork that I have no specific description thereof. It is purely abstract. The sweeping and gentle pull of the cloth as it streaked the surface of the canvas was exceedingly exciting and beautiful, as I had applied two colour onto the canvas. This was the start of a new intention that I carried forth until the painting was, I felt, complete and whole.