For me, painting is best used as a prosthetic, to comprehend one’s experience of the world. Painting shapes consciousness; there is nothing else like it for developing and shaping ideas. It is a most peculiar and versatile kind of thought. My paintings are often populated by post-humanoid beings that I like to call ‘Stooges’. These Stooges are generally in some sort of predicament: teetering on floating platforms, having a malfunction of some kind or attempting to escape from the canvases (or situations) from which they originated. I hope that people will ‘watch’ the paintings, as if they will move when your head is turned…

My interests in communication theory and technological environments provoke much of the imagery, whilst the atmosphere in the work is often anxious or perilous. I see these states as predominant moods cultivated in our culture; by our governments, our mainstream media and our online environment. I am attempting to create images that are responsive and critical of this culture, without being cynical.

I often work with arts organisations, museums and galleries on projects involving education and participation. These projects are an important part of what I do, as they provide opportunities to see how ideas ‘plug in’ to broader social groups, and consistently prove people’s receptiveness to art, and the positive role that creativity plays in society.

I’m also engaged in collaborative projects with other artists, and am a founding member of Feral Art School, Hull, and a trustee and arts editor for the Institute of General Semantics, New York.