Work produced over this decade was initially concerned with issues raised in the C.R.O. drawings started in 2000, but then developed into an interest in exploring the impact of ‘site’ on painting. This involved a questioning of the nature and limits of the ‘site’ in which the painting was made, and a more expansive notion of ‘site’ that includes how the presentational form of a painting could include aspects of the space in which it was located both as a physical/material and cultural/historical event.
Another theme developed from interests first raised in Painting and Narrative Structure – A Study of the Relationships between the Process of Painting and Narrative Structure in the mid 1990s, and explored relationships between theories of narrative structure and an expanded abstract painting practice.
Around 2010 work became primarily focussed on a critical drawing practice that became increasingly anxious and forensic in quality. This developed from a number of direct and intense cultural encounters such as a visit to the Prado in 2009 or walking on Pollock’s studio floor in 2012. This was extended into a drawing strategy that derived both from the specificity of ‘direct experience’ and from the complex of possibilities resulting from more ‘indirect experiences’ produced by an associated ‘research’ strategy.
