This project on Movement started soon after returning from a trip to Australia. It began reflecting upon how the paintings of many Australian Aboriginal artists are depictions of a journey. Sometimes this journey is a spiritual one and others a physical one through the outback landscape.So, I began my own journey of learning, I wanted to use a screenprinting bed purely and simply because I had never done any screenprinting before and there was an opportunity to have free reign on one for a few weeks. My first works were done using a few of the recurring symbols of the Aborigines, I didn’t however want to create any form of pastiche of what is a truly beautiful and unique form of cultural Art. Therefore I had to move forward on this journey of discovery. All symbolism was discarded and the works that followed were only slightly influenced by colour. This then became more vibrant and varied than it began. It was at this point I came to a moment of clarity, the waves, swirls and drips I was using instead of the symbolism used in native works, were not in fact the story of movement I thought. The true movement was in actual fact that of myself holding the rubber squeegee, each time it passed over the mesh forcing the liquid onto the paper..
This realisation led me to the series Movement II. Here I wanted to repeat that same movement over and over, building layer upon layer, the only change occurring in which colour to add to the works to build the image. Itwas at that time a fellow artist saw the works and said innocently “they’re very Richter-ish”, My reaction was “Who?” not knowing who Gerhard Richter was at that time. I went off to a library and found out that YES they are quite Richterish, if a lot smaller and not oil paintings, I then stopped making them in a huff but later realised that it was indeed a compliment of sorts.