In this body of canvas works the artist overpaints screenprinted images and text pieces with silver aluminium paint, to the point where the original information becomes illegible. The viewer is afforded glimpses of the original information whilst being prevented from gaining a clear reading of the work. The luminous quality of the silver paint contrasts sharply with the grainy images concealed through the gestural application; the artist’s tactic of partial concealment promotes an enhanced relationship with the paintings’ surface, one of the key principles of painterly abstraction.

Moreover, the principle of obliteration or erasure - a recurring feature of art from the 1960s onwards – serves as a means of critiquing hegemonic systems, that is, places and instances invested with power. Here, the general critique is levelled at the institution of art, and, more specifically, its most prevailing medium to create images: painting.