The animations are always projected within a body, object or installation. I feel the need to give them a physical presence and emphasise their ‘otherness’ within our given reality.

They don’t have a narrative as such or conform to traditional beginning, middle and end structure. Indeed I like to loop the playback and deliberately blur the expectation of a linear story. Nature has a cyclic notion, so did my research, and in a true T.S.Eliot moment I arrived from where I started with renewed understanding and altered perception. 

So what happened to the drawings I took off the wall, out of the white frame, and closer to the viewer? At first they became artist books.

Artist books allow for intimacy as you hold the book in your hands and turn the pages. The turning of the page conveys movement. You even find it within a spread, as your eyes wander between the pages, one  left-hand and one right-hand page side by side.

Suddenly a conversation emerges between the two facing pages as your eyes tentatively follow the traces. Will you join their conversation? What story comes to the surface? 

What lies underneath? Will you turn the page and decide to go back? Skip? Leap forward? 

Who is being held? You? The story? The book?

(from a notebook, 2005) 

Actually the de-framing of an image never really happens. Animation is an illusion as the eye translates the rapid succession of individual images (called frames) into movement. 

Nevertheless, the journey has taught me how drawings come to life. Their body and presence is the boundary, the membrane, the ambivalent between.

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