My practice investigates the notion of paintings operating as self-contained worlds, and existing as no more than an exposure of the process of their making. Emphasis is placed on construction, not merely the painting of a painting. Through a process of folding, stitching, tearing, collage, assemblage and paint, the works evidence all decision making during their construction, deconstruction and reconstruction, exposing the mechanics of painting. The works evidence a dependency on the five planes of their structure with an emphasis on the periphery and supporting sides, exposing weaknesses, support, salvage and repair as they are wrapped and bandaged. Concealment has been discarded and all activities are revealed. I initiate the work within a system of constraints and proceed from the determined to improvisation, as the constraints are broken, cultivating interruptions to occur during the process and these obstructions and interventions become integral to the shaping of the composition. Surprise may provide clarity and the surface will be restored at the centre as if an aperture was adjusted. Part air, partly grounded and part surprise, the work hangs as a suggestion of a painting. I am interested to explore how much paint is required for the work to become a painting. Oscillating between excess and restraint, the works present an altered state and order whilst honouring the formal traditions of their inheritance. 

Lives and works in London

Nationality
British