I paint directly on my skin, which I then photograph and print out digitally. The final images exist as digital prints on cotton rag paper.
For years, I've been investigating gesture in painting and this implicates my whole body. The imagery plays on illusions of control – about our bodies and also about art. I started this work more than twenty years ago as a way to find myself, literally, within the language of abstraction and reshape it based on my own experience.
I use the camera to record evidence of movement, which I think about in relation to gesture. It’s all part of my continuing attempt to locate myself within shifting contexts.
That sense of dislocation and change is perhaps why my work is a hybrid form, one that combines painting, photography and performance. Painting and photography set up different expectations. I look for the ambiguities in each.
In the latest work – since 2017 – I first make a big painting on paper or canvas. Then I set up the camera, stand in front of that painting, and paint on myself as if I’m just another compositional element. But what I’m doing is, I’m both appearing and disappearing into marks.