I am colour, I am texture, slipping across the surface, dripping, running to the ground and leaving my trail; a trace of my presence; layer upon layer anchored to the surface within its confines; colour upon colour spreading in haste, anger, or grace.


Language is a form of approximation, as is the language of gesture or mark; I use mimesis in painting as a way of exploring the distance, and conversely the proximity, between the intentional and the unexpected mark, and the interpretation of those marks informed by the inevitable biases of audience.

I attempt to explore mechanisms of the creative process, the repercussions for the bodily influenced gesture with regards to painting, and the role of conscious/unconscious thought within that process.


Collaborative projects and experiments seek to question not only issues of originality and reproduction, but also the relationship between process and performance and the negation of individuality and expression.


This process of copying, recopying and doubting the value of the original, over and above the self referential process of endlessly copying from copies of one’s own work, is, for me, one of continuity, linking past works with the present. Although it could be interpreted as a deliberate repudiation of the past and therefore undermining notions of creativity, in fact, I see this process of copying and recopying myself as a means of exploring and expanding our understanding of mark making and painting practice.The activity of painting is a loaded one which continually references its past in order to exist in the present, and therefore continue into the future, emphasizing the elasticity of time and our profound connections to that which has gone before.

Sarah Knill-Jones