In these works the artistic creation is an open–ended play of traces in which the work gives up to a new kind of beauty, one that is mobile and elusive. Each image with its cicatrix seems to deal with the physical world, but give no easy name to their places. In a post structuralist mode, using a non–traditional tool of a knife rather than a brush, Batty explores a tension, juxtaposing the hard edge of the knife with the soft flow of the paint, evoking a sense of infinity.
Also detectable in the work is a similar sensibility to the work of the Futurists, in their attempt to capture movement depicting it so as to convey a sense of dynamism of the contemporary world. These works allow the artist to remain open to the effects of chance, thereby facing his void–activating it with incisions that now mark him, as much as the work he produces. This discovery process is ongoing and non–linear. One edits only to find that the trace of what has been erased has reappeared, indeed, given rise to the eternal return.
S. Fuller–Activating the Void and the Making of Meanings