This selection of work is created using oil paint upon unorthodox materials, including tracing paper and translucent chiffon fabric. The delicate, see-through nature of these substrates is reflective of the transient and the transcendental; descriptors which reflect my experience of life itself. The juxtaposition between the fragility of the translucent chiffon fabric seen in the cold breeze of the evening, and the acidity of my tears these days, against the concrete stability of the frames, queries the idea of the ‘art object’. With frames conventionally being utilised to stretch opaque canvas to conceal the material qualities of the restraints, exposing the constraints as a visual component enables exploration into phenomenological concerns of the frame. The gestural mark making, alongside the at times illegibly scrawled text, all relate back to the artists hand. Painting is viewed as drawing in this sense; the process involves a searching for and carving out of the image, through swathes of paint which act as mist. These ‘searching marks’ are evidence of attempts at capturing a suggestion of something, rather than settling on a ‘completed image’, and work is ceased at a purposefully ‘unfinished’ moment, distilling this process in its working stages. Within the realm of the abstract, with each new painting undertaken, there is an attempt to add less, to push how little can still be read as an image. Poetry plays an integral role in my practice, blurring the boundaries between these disciplines directly, phenomenologically and in painterly terms. I posit importance onto written text as being not only an image making tool within its storytelling abilities, but also physically, being a visual entity in and of itself. This intentional confuddling is furthered in the use of written word, at once adding meaning through words here and there that stand out, providing clues but leaving the true meaning ever elusive.