Shape
Speaking is the domain of figuration but the shape of shape is a silence, an abstract painter’s punctuation for reflection; stiff, solid, delicate, and indefinite; an offering of space for unarticulated bodies of historical form. A synchronous occupation of multiple terrains; shape is full with “quantized indeterminacies”; emptiness, and void. Shape is an ever-expanding inconsistency of associations; a simultaneity of faces and spheres. A singular yet archetypical gesture of emotion, a contour, and a dimension in motion. A shape radiates exquisite rage and fear, disquiet, and delight. It is the face of chaos, a virtual trace; a constellation of colour, planes, and positionality; a chimera of absolute definition in an ever-unfolding state of exception. Shape is the holding of tension between friend and foe, a temporal surface and substance of ebb and flow; non-talk, “unthought”, a contesting of the logic of chronological time. Shape flattens observation into a plane of smooth space, animating the possibilities of an excess of form, an accumulation of forces, a strange topology in flux. Everything that exceeds representation is a shape and a shape is the delineation of everything representable. It is a border line of difference, texture, colour, and tone that is a surface façade of the most enigmatic matter, an active ambiguity of anchored physicality. Shape is a carrier of opinions and feelings, indifferent of their texture, colour, and tone. It is a suspension of stance to hold spot for variation, mutation, and change. Shape flickers the unresolved emergence of matter, an architectural intensity of internal and external fluctuations, a reaction of the intra-action of objects in space. 
Ethico-onto-epistemology
 Pressed to visualize the contours of an ethico-onto-epistemology is to live and tell a story of living as a set of relations. This is a story that performs the erasure of my own exceptionalism. It is a story that emerges by way of lines to paper, paint to canvas; an exodus of the everyday that is not an escape but a concentration of care. To reinstate form as a formulation of “interactive ecologies […] process orientated ontologies” is an act, a critical resource, that inspects the “overrepresented” conditions and reproductions of Western constitutions of bodies and being; it is but one aesthetic possibility for “how we might give humanness a different future.”
Painting as Assemblage
 This series of abstract paintings employs an assembled painting methodology, using acrylic paint, and latex masking fluid, to arrive at compositions that can be considered as a type of relationally constructed, process-orientated, existential landscape. Just as matter materializes iteratively and intra-actively, the material and formal processes that these paintings are contingent upon mirror the making and unmaking state of all things.