Graduated Chelsea '09.

Firstly, my work continually, but subtly, shifts in theme and purpose.

My paintings typically deal in implication and suggestion.

Through construction and erosion of form, and the layered atmospheres I paint, I leave a trail of possible signifiers, abandoned in the painting process as soon as these forms become too apparent.

Through numerous layers of paint, my work seeks to negotiate a subtle "boundary dispute", between the abstract and the figurative.

The work is as much about applying the paint, and the 'paint as object', as the gradually evolved and corrupted forms of depiction on it.
The tension in the on going interplay, between surface, and the subject, interests me most.
The juxtaposition of the two often exclusive approaches, I see as an echo of the point at which one's conscious self, meets one's unconscious self.

Particularly in my latter pieces, landscape is a reference point, but a physical landscape is only really alluded to. They are more accurately "landscaping the spirit"; similtaneously referencing natural phenomena, whilst commenting on one's place amongst it.

Influence comes in many forms and from wildly disparate sources, largely, I would think, going unnoticed due to their absorbtion into the pieces, rather than mere inclusion.
So, tiny aspects of diverse subject or media, sit side by side, making lateral connections and drawing unlikely parallels, across history, genre and discipline.
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