I stand in awe of half constructed buildings, the arrangement of colours and textures of vast decaying walls. The foundation skeleton of a utilitarian structure can be a monumental object in itself. These objects have an isolated lofty grandeur, yet in their current state serve only the most basic functional role. This unintended beauty has hints of the sublime in its psychological temperature acting as a channel for a beauty that is dark and contradictory. The airless physicality of paint plays with the intended tension between the simple unintended beauty and an intimidating confrontation of the structures. I am concerned with representing a conundrum of space, constructing moments of conflict that jar with the logic of the implied space, negotiating a ‘space between’.