I am drawn towards the predominantly indigenous South African plant forms,
and the strength and potency that they hold. My painting is certainly not botanical surveys, nor is it intended to be photorealistic, or even entirely representational. The subject matter is almost irrelevant. My painting is about form and structure, about balance, harmony and tension. It’s about rhythm, contrasts and life force.

The Yoga discipline has been a significant part of my life these past 20 years. Bodies (the basis of yoga) are organic, and so are plants and nature. Both deal with form and balance, both use structure and are composed of the tensions of opposites, and counterpoint.

Each artwork taps into the coexistence and interdependence of nature’s male and female forces. In my painting, as in yoga, I explore the balance that is reached through opposing elements. Each yoga posture, in order to arrive at a point of equilibrium, must rely on the inter-relationship of nature’s male and female forces. In the same way, each plant holds within it, this subtle tension, in order to be rooted within a perfectly balanced structure. My painting taps into the coexistence and interdependence of these contrasting forces. It explores this unique, underlying energy which each plant has to offer, celebrating these male and female counterparts that both oppose and harmonize with one another. My holistic experience has finely tuned my intuitive processes and this results in creations that sensitively align with each plant’s individual rhythm.

Attention to detail is vital to me.  I am a great observer of the detail of form and shapes in nature and in the human body. I have always observed the world through a micro setting, in an almost abstract way.  I zone in on the small, unremarkable things in nature, an unnoticeable pine cone or a dried up, burnt out plant carcass. The symmetry of nature, paralled in the human body, has always fascinated me.

By zoning in, I expose the essence of the object, I reveal its core. I cannot possibly depict these vital, awe-inspiring structures in small, less significant terms. This results in my bold, magnified representations of these life forms.  I expose the texture, the movement, the intricate detail, the vitality of each natural form. The form is broken down into spirals, coils, whorls, circles, tendrils and cones.

At a quick glance my paintings appear to be almost photorealistic representations of plant forms. On closer inspection, the tension in the form and symmetry, the taut wound-up quality of the painting technique, cause the paintings to bounce.  They vibrate, they pulse, they throb. They seem to burst open!  The paintings are super intense.  They are explosive.  They suck the viewer in. They overwhelm and absorb the viewer with their vibrant colour.  Their life force takes us over. They have an edge that simple hyper-realism could never have. They start from the simplest seed, often dead and overlooked, and through my painting focus, end up by exploding in the viewer’s face.