Working mainly on paper and canvas, a methodology of getting out of the way, the removal of thought and allowing the materials to take over, then coaxing the sublime when it emerges and endeavouring to know when to stop and not destroy what has evolved, is central to her process. With a strong relationship to calligraphy, she follows a reduction of the pallet to one or two colours of paint, with self made squeegees and brushes into a place of allowing just the gesture. Excited by the density of the painting and the need to navigate the light in order to engage and grasp the work, darkness becomes the opposite of the digital experience, lit from without, rather than backlit: encouraging to take time, slow down and inhabit.
McCormick’s practice follows the principal of discovery by manifesting the accident within the abstract and gestural arena. Her works are often concerned with the unexpected found and recorded in photography, poetry, video as well as sound.