These works explore the difference between the sensation of vision and the depiction of it, by not relying on illustration to do either, but instead focusing on materiality, surface, and the removal of additional information.

The exploration of the physical depth of the painting helps to define the colour space as an active component in the work. This is the difference between the structure of the painting and the structure of the illusion. The half-life of images in the contemporary screen-saturated paradigm affects the experience of painting. Digitisation and social media have helped usher in a new visual lexicon. This project examines material spatiality and the impact of the digital encounter.

The current visual lexicon has adapted in response to the hyper mobile image, wherein access, saturation, and instantaneity are fundamental. This change marks what Erwin Panofsky would describe as a new visuality: that is, vision and imagery tied to cultural understanding. With each era, new symbolic forms develop.

These works explore the underlying fundamental concerns of the visual lexicon in terms of materiality, vision, and presence.