The intersections that exist within painting are varied and complex. The tension that these intersections create, however, is what makes an encounter vital. For North, painting is the act of understanding these tensions.
Making use of particular techniques, such as dragging down the opening up of line, can be observed and looked into. This is a movement away from the disconcerting flatness of delineation, a contentious topic for North. By allowing differentiation to be observed within line, the paintings are an attempt to trial an equality between both the substratum and the mark.
By introducing some form of delimitation on a surface, it is never a matter of identifying or defining for North, but rather as a way to establish a correlation between terms, opening up a field in which they may interact. Within this established field, through observing what one adheres to visually, the works are an attempt to both welcome and disrupt the recognition of the pictorial and semiotic. Each mark that accrues on the surface allows contradictions to exist as pleated spaces on a surface. It is here where North considers possibilities that arise from the marriage of disparate logics, and what it means to look again.