I work on stretched primed canvases.
Firstly I choose a document to work with. Itís usually a document of identity. The bases for the choice are the words and stamps which appear on the document.
Working with synthetic polymer paints I paint a background which may be one colour, have geometric pattern or several colours which merge into one another. Using large hogís hair brushes, I apply three or four coats of paint until I am happy with the result.
I make multiple laser or inkjet copies of the document which I shred and glue to the canvas with Japanese archival rice glue. The shredded pieces are applied in random order.
I then cut a small stamp from lino which I ink on an archival stamp pad and stamp over the surface. In most cases I stamp over the work with one stamp, but I may use two or three or none at all if I feel that the image is strong enough initially.
Finally the works are coated with 4 or 5 applications of Atelier Matt Acrylic Varnish to seal and protect them from exposure to gases or moisture.
If the work is part of a diptych I choose colours from the first panel to use in a geometric pattern on the second panel. Painting with small sable or taklon brushes I work intuitively with the colours building up several layers of paint often making subtle changes to the colours until I am satisfied with the design. The resulting image while geometric contains many small imperfections which like quilts show the hand of the maker.
All materials used in the production of the works are certified archival products.