By deconstructing and reassembling the elements and base materials underpinning painting, and presenting them to the viewer, Court’s work is created via a process almost akin to that of alchemy. Through this re-examination of the basic ideas, materials and constructs on which the history of painting rests, Court challenges us to re-consider, re-imagine and re-evaluate their aesthetic and conceptual value, before re-assembling them in a way which allows for the creation of a new aesthetic value system.

Examining systems such as geometry, mathematics and architecture, Court forms a hybrid reality balancing conceptual binaries of within/without, above/below, real/unreal, nature/built environment.

These mixed media compositions, from two dimensions into three dimensions, encourage observation of a different kind, the viewer is asked to look outside ordinary phenomena.  They are temporal, acquiescent and provide less predictable situations of viewing that are simultaneously real and false – composed of real parts, yet false because they are not the whole [1]. They are willingly altering states, while willing the viewer to alter his/her state of observation and perspective.

Always aware of the tension between the work and the viewer (as a defining factor of the phenomena), Court ponders our formulation of reality and the level of illusion/delusion we are willing to entertain to formulate or reconcile the whole. As in the nature of the self, are we prepared to undergo fragmentation of the known to reimagine the nature of harmony and wholeness in the unknown?