My approach to painting is to use it, like a prosthetic, to apprehend the World.
Painting shapes your consciousness; there is nothing else like it to develop, convey, push and pull ideas.
Many things inform my research; cinema, the history of communication, ‘trash’ TV etc;
The paintings are often populated by psuedo-beings, I like to call ‘Stooges’. These stooges are often in a predicament: teetering on floating platforms, fighting with peculiar machines or left wondering if they will ever have legs….
Narrative is important as a spring board into painting – but the story is often left behind as the mechanics of painting take over. As a result, the paintings have a self reflective character; glimpses of narrative weave with data as to how the painting is constructed, and doubt is celebrated as a positive attribute of the creative process.
In a nutshell – I am attempting to create images that are humorous, critical and aloof. My intention is for viewers to ‘watch’ them, as if they will move when your head is turned.
I have worked with many arts and research organisations, some of which include 2021 Visual arts centre; Lincolnshire, Institute of General Semantics; New York, Media Ecology Association; Bologna/Michigan, Estate of Francis Bacon; London, UK City of Culture (Hull 2017) , Feral Art School and ‘Rethinking Civil Society’ at the University of York.