INTRODUCTION

Since about 1985, my art has considered the nature of drawing and painting, the meaning of being an artist, and the relationship my own work has with other art. This broad program is coupled with a tendency to work in series, and this allows me to think of my studio practice as quasi-scientific research. Working mostly with traditional materials, I develop, as a teacher, studio assignments for myself, as a student. These projects generate bodies of work ranging from as few as nine to as many as sixty.

My works research the foundational issues of art: particular problems of concept and subject, its representation, style, scale and media. I use most conventional formal graphic tools of two-dimensional art making: line, shape, form, tone, colour and surface, but these considerations function only as subtexts to my consideration of the actual subject.

Before 1985, my art often explored the formal possibilities of the grid. Between 1985 and 1992, the grid evolved into lined chalkboard lessons. Since 1992, the focus has been more on my own perception of the world. In three current projects, I am concentrating more on my intellectual and existential relationship with my own studio practice. Several appropriated figures act as self-portraits and avatars. The artist is currently present as a contemplative self within or in front of the work of art.

The most important bodies of work since 1985 are presented here in  reverse chronological order.

 Victoria studio, 1985. Photograph by Carolyn Wong

Victoria studio, 1985. Photograph by Carolyn Wong