The surface and the traditional support of a two-dimensional painting seem to be concurrent themes of prevalence in my art practice with particular attention to the two-dimensional flat surface verus the three dimensional existence.

Focusing on these themes, I continuously explore what occurs when a painting is manipulated by colour and form or in the support / material used and departs from the confines of a flat surface and the limitations of a traditional stretcher frame as a support to become sculptural, structural, architectural and three-dimensional.