Living the ‘psychic’ or ‘inner’ life is a risky business, but to do so through a practice of painting has the advantage of delivering some tangible treasures. In the following account of what I understand to be the generative structure of my painting practice in general, and of the provocations and pleasures of these five treasures in particular, I employ a metaphorical language. As such I suggest that these paintings invite one to ‘come alive’ via the contours of a sublime, monstrous, infinite, and ever-proliferating maternal matrix.
I venture that the provocative politics of this practice speaks to a repressed under-belly or unconscious and invites a dilatory gaze as an alternative to the pornographic gazes of voyeurism and consumption or of conceptual mastery. Arguably, such a politics is a response to the normalising and regulating tendencies of identity and sameness and their regulation of the ‘proper’ place of women and men in contemporary society. The production of these paintings may well be governed by my unconscious, its histories and its capacity for agency, but what also compels me to this practice are its peculiarly transformative ethics and its generative processes and secrets.