Drawing and painting has the conceptual potential to doubt or negate: painters have used the drawn language ’against itself’. Rather than seen as an undesired ‘anomaly’, uncertainty and doubt can become the approach and lexicon of drawing. Marks that depict for example, the body both assert the components of the experience and question them at the same time.

I apply this questioning of doubt to the sensate experience of the body: a field of colour is painted and then the lights taken out through ‘frottage’, or rubbing the dried paint away back to the canvas to create light areas. 

The figures float in an unknown environment,. The figure is inchoate, fragile and tenuous, and the edges of the figure bleed into the background, or have multiple iterations. It is sometimes unclear which way is up. There is a sense of loss, of falling. Often this is also ambiguous: the figure may be ‘transcending’, or may be falling. Doubt is an alternative form of knowledge to conventional knowledge- where what is not known is present as the reciprocal of the known.

“A mystery is that which shows itself and at the same time withdraws”- Heidegger