Deconstruct/Reconstruct by Hikalu Clarke

DECONSTRUCT RECONSTRUCT HIKALU CLARKE

painting serves as a physical manifestation of the transactions between artist, medium, image and substrate. This â&#x20AC;&#x2DC;receiptâ&#x20AC;&#x2122; holds performative qualities that are capable of accentuating the inherent flaws and virtues of a painting. Image takes on a subservient role in its relationship with painting; within my practice the function of image is as simply a guideline, not a boundary. The distortion of it is the result of the process of dis-assemblage and reconstruction that occurs as pictorial information is translated and interpreted through the vocabulary of paint.

BAD

Top BFFâ&#x20AC;&#x2122;s, 2014 [Oil on board, 120 cm x 180 cm] Destroyed Centre Dennis Rodman, 2014 [Oil on Board, 120 cm x 180 cm] Destroyed Kim Jung Un as a boy, 2014 [Oil on board, 120 cm x 180 cm] Destroyed 7

Top Pilots 1, 2014 [Oil on board, 50 cm x 50 cm] Destroyed Right Pilots 2, 2014 [Oil on board, 60 cm x 50 cm] Destroyed 8

Bottom Left Indian Sea, 2014 [Oil on board, 60 cm x 60 cm] Destroyed Bottom Right Tail, 2014 [Oil on board, 60 cm x 60 cm] Destroyed

Centre Smoking Obama, 2014 [Oil on board, 120 cm x 180 cm] Destroyed 10

AUTHENTICITY The tremendous development of photojournalism has contributed practically nothing to the revelation of the truth about conditions in this world. On the contrary photography, in the hands of the bourgeoisie, has become a terrible weapon against the truth. The vast amount of pictured material that is being disgorged daily by the press and that’s seems to have the character of truth serves in reality only to obscure the fact. The camera is just as capable of lying as the typewriter. - Bertolt Brecht, 1931

ithin the subject of photography the role of truth and authenticity is intriguing due to its evasiveness, specifically in terms of the discourse surrounding the matter of objective truth in contemporary digital society. Though photography has been perceived at times as a purveyor of truth, it was almost immediately utilized as a tool of deception from its inception. Hippolyte Bayard was an early French photographic pioneer who invented his own photographic process known as direct positive printing, claiming to have created photography before Louis-Jacques Daguerre. As a reaction to the injustice Bayard felt he had been subjected to after Daguerre received recognition as one of the principal inventors of photography, he created the first staged photograph entitled, Self Portrait as a Drowned Man (1840); faking his own death, he photographed himself as a drowned cadaver (Getty, 2010). Yves Klein, a leading member of the French artistic movement of Nouveau Réalisme, utilized photomontage to manipulate two photographs to produce Saut dans le vide (Leap into the Void, 1960); a photograph of a performance where the artist appears to have flung himself from a wall onto the cobblestone pavement below (Fogle, 2003). Both artists’ work is also reminiscent of Bill Nichols’ reflexive and performative modes of documentary; both construct and manipulate space to serve their own purposes but accept the subjective consequences in doing so. Klein performed his work Saut dans le vide to denounce NASA’s lunar expeditions as arrogant and folly; by overlaying two different photographs and removing the tarpaulin used to catch his fall, Klein emphasized how photography could not be used as definitive evidence due to its malleability (Fogle, 2003). Bayard also illustrates this by his staging of Portrait of a Drowned Man.

Left The time Hitler hung out with an alien, 2014 [Oil on board, 50 cm x 60 cm] Destroyed

Top Left

Top Right

North Korea warns of Western Imperialist Propaganda I, 2014 [Oil on board, 60 cm x 60 cm] Destroyed

North Korea warns of Western Imperialist Propaganda III, 2014 [Oil on board, 60 cm x 60 cm] Destroyed

Top Centre North Korea warns of Western Imperialist Propaganda II, 2014 [Oil on board, 60 cm x 60 cm] Destroyed

Top Undies, 2014 [Oil on board, 14 cm x 21 cm] Destroyed Middle Photo, 2014 [Oil on board, 14 cm x 21 cm] Destroyed Bottom Container, 2014 [Oil on board, 14 cm x 21 cm] Destroyed

Left Untitled, 2014 [Oil on board, 21 cm x 30 cm] Destroyed

Bottom Left Elliot Rodgers’ BMW, 2014 [Oil on board, 60 cm x 60 cm] Private Collection Bottom Right Elliot Rodgers’ Armani Sunglasses, 2014 [Oil on board, 60 cm x 60 cm] Private Collection

DOCUMENTARY MODES

ocumentary utilizes film to create a moving image experience for its audience to communicate its creator’s own arguments and ideologies. Bill Nichols, an American film critic and theoretician, splits documentary film into six modes: Expository, Observational, Participatory, Reflexive and Performative. For this reading only two of the mentioned modes are needed: Reflexive – acknowledges and flaunts the constructed nature of documentary, conveying to audience that what is being seen is not necessarily ‘the’ truth but ‘a’ truth; and Performative – emphasizes the subjective nature of the documentarian and acknowledges the subjective reading of the audience (Nichols, 2001).These modes are relevant to assist exploring notions of objectivity, subjectivity and context within this article.

Omer Fast is a contemporary video artist whose practice explores the disjuncture in documentary media by splicing and creating narratives that blur the line between fact and fiction. The Casting (2007) is a work that simultaneously plays two different videos with two different narratives alongside one another. The two screens were suspended from the ceiling and placed opposite to one another; this obstructed the viewers ability to view all four video feeds at once, creating an interactive quality within the space it was exhibited. The protagonists of one of the videos are both in a state of powerlessness; one is an American tourist in Germany involved in a volatile relationship with a obsessive, self-harming girl, who eventually finds himself in a nightmarish situation; and the other is an American army sergeant recalling a near death experience with a roadside car bomb during his tour of Iraq (Rebhandl, 2008). The video is composed in a very balanced, picturesque manner that effectively sub-diffuses the often malicious nature of the imagery provided. The actors also remain static within the video, as if posing for a photograph; alluding to an audience that these are documentations of transient past moments.’ The video features a voiceover which is sourced from an interview conducted by Fast with a returned marine, revealing that the video is in fact a re-enactment of this conversation. This raises questions about the audio-visual representation of events, emphasizing the place of authenticity and truth within storytelling, which will inevitably always be subjective (Rebhandl, 2008). Fast combines reflexive and performative modes of documentary in The Casting; he acknowledges its inherent subjectivity whilst also flaunting its constructed nature. The artwork pushes its physical capabilities by making a conscience choice in its presentation strategy through its intervention of space.

DECONTEXTUALISATION

he decontextualization of image by external forces, such as government and political parties, can result in it being utilized for another individual or group’s own purposes and ideologies, thus removing the original intention (Sontag, 2003). In Susan Sontag’s, Regarding the Pain of Others (2003), she warns of the decontextualisation of image, describing how the same photographs of children killed by the shelling of a village during the fighting between Croats and Serbs at the beginning of the Balkan wars, were passed around at both side’s propaganda briefings. The issue of decontextualization also arises in Adam Broomberg and Oliver Chanarin’s, Unconcerned but not Indifferent (2008); The issue of context was highlighted by one particular submission that showed a group of spectators holding up their mobile phones in order to photograph something out of frame, something going on behind the photographer. It could have been taken at any sporting event or music concert. It turned out to be a public execution in Iran. This photograph is not simply reporting an event but alerts us to something more disturbing, our desire to look at the spectacle of man being executed, and the role of photography as a facilitator. It is precisely the image’s ambiguity, its reliance on its caption, that makes it so much more interesting than the image of the prisoner himself, hanging from a rope, which the photographer also captured, and which made it into a later round before being eliminated. (Broomberg, Chanarin, 2008) Broomberg and Chanarin illustrate this through their experiences as World Press Photography judges; due to the overwhelming number of entries into the competition images must be viewed without its accompanying caption, and are only judged upon its aesthetic and formal qualities. This removal of context and artist intention is bizarre and effectively amplifies subjective notions of aesthetics.

throughout history in an attempt to immortalize their existence through images that portrayed themselves in an accentuated, perfected state. Painting has also been utilized in propaganda in an attempt to steer public opinion towards the intended direction. This manipulation of context enables the commissioners to utilize imagery for their own purposes and/or ideologies (Clark, 1997). Der Bannenträger (The Standard Bearer) (1937) is a painting by Hubert Lanzinger that portrays Adolf Hitler as a crusader that would bring salvation through warfare. The Middles Ages are often cited in Fascist imagery, celebrating an imagined feudal era of unity through artwork and architecture bound by a strict social hierarchy under the Third Reich (Clark, 1997). Lanzinger succeeded in portraying the Fuhrer in an idealized state; his stoic stare is unwavering upon his heavily rendered face, body clad in Teutonic armour upon a dark steed, as a red flag bearing the Swastika flies above. However, this manipulated context, and the fascist regime’s fascination with the Middle Ages is visually bizarre; it only exists in a fantastical state, and this nostalgic allegory seems to reflect a performative quality. The troubling associations of the Swastika are immediately the mass murder of millions of Jewish people during World War II; this context gives images sourced from the Third Reich propaganda such powerful emotional connotations in the present. In the instance of the removal or disregard this context illustrates Susan Sontag’s warning against the alteration of context.

Luc Tuymans explores this dilemma of decontextualization through his painting’s, Recherches (Investigations) I, II and III (1989). On the surface the paintings appear understated, their modest scale implicates no stature of importance, the imagery bearing resemblance to everyday, domestic objects. The lampshade, cabinet and circular mark however, are not what they immediately seem – the lampshade is one made from human flesh displayed in Buchenwald; the cabinet a display case at Auschwitz holding fabrics made from human hair; and the unthreatening mark is an X-ray of a diseased tooth (Godfrey, 2009). This work bears parallels to Sontag’s warning, illustrating the place of context within painting. The following statement summarizes Tuymans earlier inclinations; “odours can cling to objects like an aftertaste, pleasant or vile: painting can seek to give images the same sort of troubling association.” (Godfrey, 2009, p. 345) Within historical portraiture, painting has been utilized to facilitate the manipulation of context. Portraits were often commissioned by individuals of power and wealth

Top Daryl ‘Abu Suhaib Al-Australi’ Jones, 2014 [Oil on board, 90 cm x 180 cm] Destroyed Bottom Boston Bombers, 2014 [Oil on board, 120 cm x 180 cm] Destroyed 23

he context of an image, sentence or sound changes how it is perceived. Without a clear, objective context, it is hard to comprehend information and its intentions. In some ways this de-contextualized state could be compared to the undecipherable white noise of static. Though information is more abundant and accessible than ever before, the constantly expanding sea of information does not only supply truths but also a multitude of uncertainties and misconceptions. Many scenarios hold an element of duality that in turn question the ideas of right and wrong, and the role of victim and villain.

Chemtrails, 2014 [Oil on canvas, 60 cm x 60 cm] Private Collection 25

Arena de Amazonia - Manaus, 2014 [Oil on board, 120 cm x 180 cm] Private Collection 26

Comfort Women, 2014 [Oil on canvas, 122 cm x 122 cm] Destroyed 27

Installation Shot Daryl ‘Abu Suhaib Al-Australi’ Jones Boston Bombers 28

Installation Shot Chemtrails Elliot Rodgers’ BMW Elliot Rodgers’ Armani Sunglasses Arena de Amazonia - Manaus Comfort Women 29

Left Centre Sukhoi-25, 2014 [Oil on board, 60 cm x 60 cm] Private Collection Left Bottom Buk, 2014 [Oil on board, 60 cm x 60 cm] Private Collection

Centre Ben Charles Padilla, 2014 [Oil on board, 122 cm x 122 cm] Private Collection 33

Right Evening Cowboys, 2014 [Oil on canvas, 120 cm x 120 cm] Destroyed 34

Right Hazukashii I, 2014 [Oil on canvas, 122 cm x 122 cm] Destroyed

Top Hazukashii II, 2014 [Oil on board, 120 cm x 180 cm] Private Collection Centre Left

Centre Right

Hazukashi III, 2014 [Oil on board, 50 cm x 60 cm] Destroyed

Hazukashii IV, 2014 [Oil on board, 50 cm x 50 cm] Destroyed

Top Right Max Mosley and the Nazi Hookers, 2014 [Oil on canvas, 122 cm x 76 cm] Destroyed

Top Empty Stadium I, 2014 [Oil on aluminium, 50 cm x 61 cm] Destroyed

DECONSTRUCT RECONSTRUCT THE PERFORMANCE OF MARK

ves Klein undermined the common idea of painting as an index of the painters’ body in his Anthropometry performance from 1960. Literally disassociating and distancing him from the ‘mess’ of painting, he used female models as ‘living brushes’; covered in blue paint they were rolled and dragged over sheets of paper under Klein’s direction. Klein remained clean during the performance, wearing a tuxedo and a pair of white gloves. (Gade, 2010) Despite its immediate fall into the rhetoric of the misogyny of painting, Anthropometry performance explores an interesting point in regards to the performance of mark within painting. I think of Marcel Duchamp’s abandonment of painting, the mess, for the readymade, the clean; “the painter was considered stupid, but the poet and the writer were intelligent.” (Blocker, 2004) I wonder if Klein sought the same, removing himself from the ‘mess’ and action of painting through his ‘puppets’. This serves as an interesting counter point to my own painting practice; I seek to become more apparent in the ‘mess’, my presence felt through my brushes strokes, substrate and mark-making. Painting is an action first and foremost. The painting is a direct result – the receipt – of the transaction between a substrate and the medium being placed upon it. The action of painting holds qualities of performance; the conscious decision to place paint in a certain area and order; choosing to complement or subdue through colour; and perhaps most important, the decision to call a painting ‘finished’. It is important for my paintings to hold this performative quality as it announces the artist’s presence within the work. Katharina Grosse’s use of spray paint is a method to remove her presence, she remarks:

‘Spray painting is different to painting with a brush, because to some extent the brush gets in the way’. (Staff, 2013) I find Grosse’s practice interesting, her temporal installations are very evident with qualities of performance yet she seems to attempt to, like Klein and Duchamp, remove her presence with a tool. I believe the painting Neymar breaks his back (2014) communicates my presence as the painter. The performative qualities of mark-making are evident and the paint handling remains practical and efficient. The green that appears flat at first is full of movement as the brush, that is large in relation to the canvas, works its way about. Zuniga and Neymar jostle against each other in a flurry of blue, red and yellow as the white of the substrate reveals itself, whilst a white stroke of paint that marks the goal box slashes between the top right corner of the painting. Neymar breaks his back reveals its process of creation through the evidence upon the canvas, like a replay stuck on a crucial moment - here it is when the cracks in the Brazilian side opened during the 2014 FIFA World Cup. Football is a sport that encourages precision and finesse but the win is always the end goal, no matter the method. This is not dissimilar to the way in which I approach painting; though I wish to exhibit control through being consciously present in my art-making process, I have to succumb to whichever method concludes in the creation of a brilliant painting. I enjoy the relationship Neymar breaks his back holds to its contextual origin; the performative aspects of both sport and painting converge upon the same plane - the meeting of the extrovert and introvert collapsed into the home turf of the latter.

Centre Garage View, 2014 [Oil on Canvas, 50 cm x 50 cm] Private Collection 44

Centre

Opposite Top Right

Three Boys in Dingey, 2014 [Oil on canvas, 122 cm x 122 cm] Destroyed

Gun Emplacement on Waiheke, 2014 [Oil on canvas, 122 cm x 122 cm] Destroyed 46

DECONSTRUCT RECONSTRUCT NAVIGATION OF SPACE AND REALITY

n Picasso and Truth, TJ Clark explores how in which Pablo Picasso navigated and created space within his paintings. Through his abstraction of reality, Picasso enabled a different view through Cubist painting. The painting Guitar and Mandolin on Table (1924) exhibits Picasso’s translation of a threedimensional space into a two-dimensional one. The painting breaks away from classical conventions of the creation of space within painting, colliding it with the hard edge of the painter’s brush. It manages to both collapse and create form; clues of space are provided through the heavy placement of tone whilst familiar forms of the guitar’s body sit upon a patterned tablecloth, as a window gasps open in the background, revealing a sky where blues cascade and clouds float. (Clark, 2013) As an image-based painter, I find Picasso’s navigation of reality and creation of space upon at two-dimensional plane intriguing. Through large fields of colour and mark, in Guitar and Mandolin on Table, Picasso simultaneously collapses and opens up reality in a different manner; enabling the creation of an imagined space. I believe painting creates an imagined space, an ethereal reality that is defined by the artist whom creates it. Contemporary painters such as Luc Tuymans with his satirical mottled palette, Peter Doig with his romanticised escapism and Dana Schutz’ volcanic reality exemplifys the nullification of their ties with reality through their unfaithfulness to photography. Their form of engagement with photography, therefore image, inevitably conveys an emotional stance, an air or presence to the paintings. (Schwabsky, 2005)

translated it upon a canvas surface. This process of my own physical interaction with the space is reminiscent of Franz Ackerman’s mental maps, where the artist utilizes his surroundings on his travels to produce small-scale watercolour paintings. (Staff, 2013) Apache View originated as a screenshot taken from a video of an American Apache helicopter blasting a group of Taliban soldiers. Its use of under painting creates a sense of noise as it runs against the horizontal direction of the brush strokes, indirectly creating a sense of space. The substrate of wood, as opposed to canvas, heavily affects the malleability of paint, causing it to cascade in amongst itself, amplifying its painterly qualities. The role of image within these paintings is not a boundary, but simply a guideline. Its distortion, as well as the collapse and reconstruction of space manipulate the viewers’ perception, whilst anchoring itself as a painting. As Barry Schwabsky remarked in his essay in Vitamin P: ‘Painting is not there to represent image; the Image exists in order to represent Painting.’ (Schwabsky, 2007)

This imagined space is evident in Wool Shed and Apache View but approach it different ways. Wool Shed was based from a photograph taken whilst on Waiheke Island; I then appropriately cropped and

Top Right Girl on Bus (Rainerâ&#x20AC;&#x2122;s photo), 2014 [Oil on canvas, 101 cm x 152 cm] Destroyed 50

DECONSTRUCT RECONSTRUCT THE AGENCY OF THE ARTIST

n 1998 critic Boris Groys spoke out against painting;

‘Contemporary painting is no longer in a position to do what nineteenth-century painting did, namely, to make statements about the world. All the self-reflexive and self-destructive avant-garde movements have resulted in painting being obsessed with its own “thingness”, materiality, and structures, to the extent that it can no longer depict the tworld.’ Perhaps Groys found that today’s painting’s lack of purpose was the reason for its obsolescence; video, photography and other new media had replaced it. (Godfrey, 2009)

Once this notion of validity was de-emphasised, my practice began to open up, the range of subjects and contexts chosen expanded considerably. These ‘meanings’ were no longer the catalyst but the biproduct of my painting. Qualities such as a tone and mark became the links between works of completely different subject matter; this juxtaposition of context provoked more thought and interest than the attempt at capturing meaning. Had agency acted as my gag?

I disagree with the Groys’ view that painting needs a sole purpose; I believe in this highly digitized modern society painting holds the necessary ties to reality that makes it the perfect candidate for reflecting it. Painting’s lush history as a medium and its tangibility, are the virtues that enable painting to remain both accessible to the general public, and relevant in a contemporary art discourse. I was once smitten by the idea of art’s higher purpose, art had to ‘mean something’ or be trying to convey a message to be valid. This method only suffocated and dulled my practice’s progress through its painful, monotonous need for self-validation. Should a painter have to justify himself? As a tangible object, complete with its formal qualities, painting should be able to exist simply as a painting. However, a painter should always be prepared to engage with critical scrutiny and to be ready to interrogate painting, trusting in its inherent abilities and hazards both as a medium and an art practice.

Opposite Bottom Left Alias I (Samantha Azzopardi), 2014 [Oil on canvas, 122 cm x 122 cm] Private Collection

Top Right Kurdish Tanker I, 2014 [Oil on canvas, 50 cm x 60 cm] Private Collection Centre Right Hoody, 2014 [Oil on board, 60 cm x 60 cm] Private Collection

Top Tanker, 2014 [Oil on canvas, 101 cm x 152 cm] Private Collection Centre

Opposite Bottom

Wet Roads, 2014 [Oil on canvas, 122 cm x 122 cm] Private Collection

Bruce Banner Gamma Rays, 2014 [Oil on canvas, 101 cm x 152 cm] Private Collection 58

GOOD

Kurdish Tanker, 2014 [Oil on aluminium, 50 cm x 70 cm] Private Collection 62

Apache View, 2014 [Oil on board, 60 cm x 80 cm] Private Collection 63

Candy Clouds of Doom I, 2014 [Oil on canvas, 50 cm x 50 cm] Private Collection 64

Candy Clouds of Doom II, 2014 [Oil on canvas, 50 cm x 76 cm] Private Collection 65

Found Photo (Door), 2014 [Oil on canvas, 50 cm x 61 cm] Private Collection 66

Calebs View, 2014 [Oil on canvas, 50 cm x 61 cm] Private Collection 67

Winston Reidâ&#x20AC;&#x2122;s Homecoming, 2014 [Oil on canvas, 50 cm x 60 cm] Private Collection 68

Sukhoi-25, 2014 [Oil on canvas, 60 cm x 60 cm] Private Collection 69

Steven Sotloff, 2014 [Oil on board, 61 cm x 67 cm] Private Collection 70

Neymar breaks his back, 2014 [Oil on canvas, 50 cm x 50 cm] Private Collection 72

Wool Shed, 2014 [Oil on canvas, 122 cm x 122 cm] Private Collection 74

Wreckage I, 2014 [Oil on canvas, 76 cm x 122 cm] Private Collection 76

Jeff Koonsâ&#x20AC;&#x2122; Selfie, 2014 [Oil on canvas, 76 cm x 101 cm] Private Collection 80

Ferry View, 2014 [Oil on canvas, 122 cm x 122 cm] Private Collection 82

Suddy People Mover, 2014 [Oil on canvas, 101 cm x 152 cm] Private Collection 84

Cervixâ&#x20AC;&#x2122;s last show at the Factory, 2014 [Oil on canvas, 76 cm x 122 cm] Private Collection 88

Overpass, 2014 [Oil on canvas, 101 cm x 152 cm] Private Collection 90

Tennis Courts (yeah), 2014 [Oil on canvas, 76 cm x 76 cm] Private Collection 92

ithin my practice the contextual implications of image are sublimated through the language of paint. Paintingâ&#x20AC;&#x2122;s vocabulary swallows and mediates the image, forcing it into a submissive state where it is overridden by the translative process. This process of deconstruction and reconstruction acts as a form of interrogation that in turn informs the painting gesture. This methodology accepts and embraces the inherent flaws and virtues of the medium itself, focusing upon the performative act of painting.

Installation Shot Cervix’s last show at the Factory Jeff Koon’s Selfie Suddy People Mover Ferry View 100

Installation Shot Overpass Wreckage Cervix’s last show at the Factory Jeff Koon’s Selfie 101

Installation Shot Woolshed Overpass Wreckage

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Installation Shot Wreckage Suddy People Mover Ferry View

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BIBLIOGRAPHY

Blocker, J (2004), What the Body Cost: Desire, History, and Performance, Minneapolis, US: University of Minnesota Press Brecht, B (1985), John Heartfield: Art and Mass Media, New York, US: Tanam Press Broomberg A, and Chanarin O. (2008), Stallabrass J. (Eds). DOCUMENTARY, London, England: The MIT Press Clark, T.J (2013), Picasso and Truth: From Cubism to Guernica, USA: Princeton University Press Clark, T (1997), Art and Propaganda in the Twentieth Century, London, England: Orion Fogle, D (2003), The Last Picture Show: Artists Using Photography, Minneapolis, US Gade, R (2010), Matter and Meaning: â&#x20AC;&#x2DC;The Slime of Paintingâ&#x20AC;&#x2122;, Contemporary Painting in Context, Copenhagen: Museum Tusculanum Press Getty Museum (2010) Hippolyte Bayard. Retrieved from http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1876 Godfrey, T (2009), Painting Today, London, England: Phaidon Press Nichols, B (2001), Introduction to Documentary, Indiana, US: Indiana University Press Przywara, A (2011), Wilhelm Sasnal, London, England: Phaidon Press Rebhandl, B (2008, April), Omer Fast, Frieze, London, England: Territory Staff, C (2013), After Modernist Painting, London, England: I.B.Tauris & Co Ltd Schwabsky, B (2005), The Triumph of Painting (Exhibition Catalogue), London, England: Jonathan Cape and the Saatchi Gallery Schwabsky, B (2007), GI Symposium: Painting as a New Medium, Sourced from http:// www.artandresearch.org.uk/v1n1/schwabsky.html Sontag, S (2003), Regarding the Pain of Others, London, UK: Penguin

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This publication serves as my contextual portfolio of the final year of my Bachelor of Fine Arts Degree at Whitecliffe College of Arts and Design.

Thanks to everyone who puts up with my shit. Special thanks to Jono Dunbar for always letting me steal his equipment and being a true king of painting; Noel Ivanoff for pushing me to do better at every stage of my education; and Anthony Byrt for asking the hard questions about my painting practice. An even bigger thanks to my girlfriend Lucy and both of our familes for all their support and patience.

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