Architects draw lines to describe real things. The line indicates the location and the extent of an object and often—albeit by symbolic representation—what that object is. The line seen in these paintings performs a different function. Lines are liberated from materiality, though admittedly still constrained within an orthogonal grid. Unlike a vector with two defined points located in Cartesian space, the lines of colour have no particular beginning or end. The vertical line is occasionally cut or overlayed by an invisible or visible horizontal element.  Some solid elements are sliced into thin fragments of colour, revealing ambiguously negative or positive remnant stripes. Unlike the intended flatness of a colour field painting, lines or their fragments become ‘figure’ to a spatially located ‘ground’. There is an incidental perspectival recession that occurs when a strip of colour floats over or intersects the colour in the background.

The lines are a vehicle by which the artist explores the strong and weak forces of each colour or hue. A subjective decision responds to adjacent colours and whether harmony or discord is the response to the enforced co-existence.

The ‘lines’ paintings have no intended viewpoint and could be segmented into many small compositions. Many small phrases repeat, creating a dimension of time. Here the intention is more meditative than narrative.

Other works adopt a different approach to colour. The relationship attempted is more kinetic. Coloured elements run, jump or float along horizontal planes.

The organisation is in fields of coloured bands varying in hue and intensity. In some works, the linear elements are actual separate canvases jammed together implying the potential slippage or fracturing along a horizon.