‘The crux of my painting is the layering and reworking of surfaces which invite visual exploration to reveal the merging of the conceptual with the formative. Surfaces undone, reworked and remade, together with new juxtapositions and realignments and the materiality of the paint itself, is pivotal to my practice. Tactile and structural elements, raw edges, imperfections and the [un]intentional irregularities which evolve, are fundamental to my aesthetic and compositional consideration and impact the viewer at a visceral level.
Painting is not simply the application of paint, but rather the representation and extension of ideas brought about by the opportunities that the paint itself elicits. My abstractions are informed by, but do not convey any direct visual response to nature or the built environment and contain no hidden symbolism or political content. My praxis engages recurring forms and themes which juxtapose in unexpected new directions of expression where the representation of an ‘idea’ about painting evolves by the fortuity that the paint itself represents.’