I do not paint; I quite simply make. The fleeting ephemeralities of nature have long since fascinated me. I often asked myself, how can I translate this materiality of nature onto my work, when it refuses to be tamed or controlled as per one’s will? To this extent, I have adopted an almost archival, quasi-scientific method of categorizing and documenting various hues, forms, textures, surfaces, as well as materials such as clay, coal, graphite, pulp made from newspapers (to demolish written language and establish visual language), and a slew of other discarded ephemera found in nature - all in pursuit of understanding its materiality.

My respect for traditional ways of life is borne out in the hand-made objects and many of these elements are like fossils to me. I am influenced by historical figures such as the engineer and architect Buckminster Fuller and utopian visions of a self-sustaining, egalitarian society. These recent works draw on ideas expressed in Fuller’s book Grunch of Giants which then merges with my own artistic language and world view.

My interest in cosmology and imaginative cartography is inherently connected with pressing concerns around indigenous, natural resource inequality and racism . my recent works alludes to Fuller’s utopian concept of ‘Spaceship Earth’, a phrase Fuller used to describe the entire planet. In this case my work implies that our trajectory is adrift, as we forge ahead without adequate care for the planet itself or humanity. my work advocates, as Fuller did, for a collective rebalancing, or global cooperation around human intelligence and the earth’s resources, in a way that allows for an ‘integrated regenerative system’.