Paintings 1991 - 1997
During the early 1990's my practice was predominantly concerned with the production of paintings incorporating cartography and a variety of untraditional materials as carriers of meaning and reference. At this time the resulting work included a particular interest in cartography as a signifier of cultural placement and identity. Cartographic imagery was sourced from specific books that were widely seen as authoritative, if not comprehensive, in their analysis and assessment of contemporary physical geography and associated historic, sociological or cultural demographics. Cartography acts as a carrier of information often taken at face value; and this body of works explored how specialist, refined and informed knowledge was edited and sanitized for popular consumption. The aesthetic of cartography appealed to a longstanding interest in universal, coded systems of information imbued with physical meaning, which in turn imply points of human control and interaction. The prime concern was with how cartography codifies the reality of human intervention, and how the dominance of landscape in predetermining or regulating political and religious jurisdiction shifted with the development of effective long-range communication systems and the increasing technical and military dominance of the 19th and 20th century system of empire and colonization.