Mourning and transcendence.These sketches and paintings captures fragments of places from weekend visits, ink drawings of hospital rooms and photographs of details of life-preserving equipment. They are images of sorrow, witnessing withering transient life, yet speak of particular care and devotion.

Pointing to the complexities of our lived experience, the exhibition title of “Enfolding” also finds an echo in Gilles Deleuze' (1993) writing on The fold: Leibniz and the Baroque.  As such the abstraction within works becomes an attempt to grapple with enfolding meaning and searches for a measure of insight into the journey we travel in our bodies. Deleuze (1993: 86) describes the human being as "monad" (an indivisible entity), who is a full expression of the "world, but obscurely and dimly because it is finite and the world is infinite...It is as if the depths of every monad were made from an infinity of tiny folds (inflections) endlessly furling unfurling in every direction, so that the monad's spontaneity resembles that of agitated sleepers who twist and turn on their mattresses."  Apart from the literal reference to folds and its implied complexity that relates to the theme of this exhibition, the works find resonance in the tone of dissonance as expressed in the fragmentation and sombre greys. Works such as Sorrow, Reading Harari: 21 lessons, and At the foot of the bed relate closely to deep-felt movement of shifting , seen in the organic shapes of the compositions and tension of layered spaces. The thread of all sorrows is compiled of cropped details from Renaissance paintings which portray lamentation, recognising the experience of bereavement as an expression through history. 

Memories are further captured in objects that tell stories of embedded time. Painterly marks and stains in this last series, express the nature of memory to be detailed at times and blurred, murky or entirely cast in darkness at other times.  The phrases We know how to build a dam and To stop a river from flowing, used as two titles of small paintings again refers to Yuval Harari’s (2018) influence, which is an existential lament. In the text Harari follows to writes that for all our knowledge, we do not have the insight of how actions will impact on the future, much like a riverbed downstream from a dam. The unifying links with the fold can be found in layers of sediment, strata in rocks and the fading rhythms of structures.