The ‘objecthood’ of the birch: By sanding back to the premium, structurally stable museum grade bare birch, areas of smooth, warm, indexical voids are full and heavy with the memory of the paint that has been systematically removed. These quiet ‘gaps’ create a sense of the infinite. The subtractive excavation of layers shifts the focus from what the painting depicts to what the painting is made of, and on how the viewer physically and emotionally experiences the work in real time. The voids allow viewers to confront their own presence, scale and perception of the surface, and situate the works uncomfortably between two mediums; part painting and part sculpture - leaving their true physical situation uncertain.