b. 1965, Santiago, Chile
I arrived at Hurst Castle full of preconceived ideas about what I would paint. I imagined it would be the historical stone structures or the massive heavy and prominent cannons. Instead, I found myself painting the local flora and fauna—the flowering sea kale, lichen, pipits, oystercatchers, and moths, beautiful and exotic little black and red moths—and the chair I sat on every day. The language that evolved was personal and site-specific at the same time. My ongoing theme incorporating geometric target motifs also re-emerged, loosely representing the spherical target-like growths on the castle stones of centuries-old lichen, my binocular scopes, the rings at the end of a cannon and details of the mechanical workings of the lighthouse.
During the two weeks I spent at Hurst Castle, the landscape, history and culture of the location profoundly directed my work, and I feel that this period was crucial to my work’s development.