Biography
My work stems from observation, insisting on my own version of events - appearance over experience. I work very quickly wrestling with graphic and painterly sensibilities towards a sophisticated naivety. My studio practice has followed a path of deconstruction, deconstructing frame, moment, narrative, colour as form and celebrating image and gesture. Moving also away from easel and oil paint to embrace the Post Frank Stella ‘I tried to keep the paint as good as it was in the can’ school of thought’ and both the joy and anxiety that entails.
My work is at a glance quite primitive and has been influenced by research into Palaeolithic art that I carried out whilst writing my dissertation in this area. Drawn to the subject by recognition of something similar in my own practice I investigated the idea that the cave artists may have had access to a cultural debris free ability to observe thus explaining the sophistication of their un-schematic drawings and sought to find resonance in the act of making art today. What remains very influential to my practice is the role of making art in the evolution and development of mind and also the way an act moves between being both individual and generic and the area of interpretation between these poles. My work plays with this idea of information and misinformation, representation and also misrepresentation.
