There are two main aspects to my paintings. Firstly, there is an exploration on mark-making as a means to convey a large amount of information regarding speed, weight, register, temperament and so forth, in minimal terms. The fluid drawings in the paintings have an anecdotal quality: in one of them a line seams to have just snapped and it is portrayed in the resulting inertia; another is about to crash against the edge of the canvas. The drawings allow for personalities which range from the animated and melodic to the solemn and astringent.

Secondly, there is an investigation on the theory of colour. Each pair of colours used in each painting has been chosen because they potentiate each other producing an optical effect in which the boundaries between the colours appear to fluctuate, making it harder to define contours thus producing the illusion that the line is flickering. This effect is pushed further as they are all line drawings, so it is not only the boundaries that are affected but also the whole drawing hovers before the canvas.

The plane becomes a space in which the energetic and accurate movement of the line is captured in this intermittency and remains suspended in from of the canvas.