My art practice centres on painting in a variety of media but I also explore ideas in print, collage and sculpture. My figurative style may reference the art of the past, contemporary culture, or site specific, socio-political histories.  It is populated by figures that operate in a shallow, theatrical space and possess the frontality and expressive shorthand common to votive art of all cultures. I work to unite these disparate elements to reflect an absurd, multivalent universe where meaning is fluid and open to interpretation by the viewer.

I will often start a series of works by tracing an old drawing or the overpainting and collaging of earlier works, especially proof prints and print matrices. The composition is then usually subjected to  further revisions and embellishments, with paint layers sometimes modified by the introduction of sand, sawdust or collage elements. Colour decisions are driven by the emotional tone I wish to set, and to balance the composition. 

My tendency to simplify, filter and truncate is in response to the fragmented and bewildering surfeit of images available to contemporary audiences. Whereas artists of earlier periods and cultures could use the human figure to convey a narrative or personify a concept with an uncontested meaning I do not believe this is possible today. Instead, by referencing the formal potency of these otherwise outmoded and compromised systems I work to create to a common ground, or sometimes a point of departure, in order to highlight the absurdities that continue to divide us.  

Thematically childhood, family and rites of passage have long been regular touchpoints as I consider they have a universal significance that transcends religion, myth or dogma.  These ideas have been reframed by recent exhibitions at Sandham Memorial Chapel and Greenham Control Tower which involved artworks made in response to specific histories and the gendered power dynamics of patriarchy, feminism, and militarism.

Using Format