She walks into slowly into the Leith without a boatman to guide her swiftly across

oil and indigo on canvas 100cmx100cm My work usually starts with a narrative and through the process of creating a single work, or a series of works that narrative is distilled. So what happens when the narrative is disappearing? When the central character of the story is experiencing a process of disintegration? There is a risk in that becoming the narrative itself. A risk I have explored here and am still exploring in what is turning out to be a new series While playing with the indigo I discovered its variability in texture and tone when mixed with various oil painting media. I did attempt rabbit skin glue, like Rothko, but found the pigment clumped and formed unsatisfying surfaces. The indigo dissolved more evenly in oil painting media with a lot of help from a pestle and mortar. The process of using the indigo has been to build pull back and rebuild surfaces to create that space at the same time as allowing for the introduction of symbolic iconography including in the media itself. The surfaces have variations in the media used for application, but in this piece unlike other works I have created using indigo, the final varnish is uniform to create a sense of looking through a single plain, in a way creating a separation from the events happening, a framing of ourselves as viewers.