My practice presents a fusion of oppositional concepts: reduction and expansion, introduction and eradication, intention and opportunism, control and freedom. My work explores my role in the creative process through the construction of conceptual and graphic boundaries which reduce the influence of intuition to initial decisions that control my actions and restrain aesthetic composition. These boundaries consist of quantifiable, or ‘known’, elements: the point, the line, fragments of time, the dimensions of my body and the materials that specific works consist of. These rational and quantifiable boundaries direct and control the unquantifiable, or ‘unknown’, which arises from my interaction with my work during the experimental action and performance of each piece. The interaction of restrictive cognitive and graphic boundaries with the unquantifiable, which consists of intuition, creativity, freedom, accident and chaos, makes it impossible to predict the result of each experiment and expands possibilities from the point of reduction. My practice has developed from my research into the rationality of graphic elements and the irrationality of intuition evident in the work of early abstractionists, such as Aleksandr Rodchenko and Piet Mondrian. Exploration of this duality has been structured by cognitive boundaries influenced by Conceptualist systems and strategies. However, my cognitive process is used to introduce my inevitable influence and presence in my work rather than eradicate it. My actions involve my fingers and touch on the work itself, mechanically detailed movements over a duration of time, and physically distancing myself from a piece in order to flick, throw or drop materials at graphic boundaries in rapid actions. The repetition of graphic targets and my repeated physical action in individual pieces reduces the influence of intuition in the composition of work and makes the unknown evident by enabling comparison between the results of the actions captured on white surfaces.