I think of my paintings as inventories or fragments of a much bigger picture. They are improvisational and constructed pieces that aim to question our experiences and making of the world through visual language, knowledge and history above all else. Paint is used as a vehicle for slowing down the reading of the image, which, in an age of technology, media and viewing life through a lens or on the screen of a mobile phone, is something I feel to be quite significant.
My work is schematic, aiming to invite the viewer into a space of speculation. Though embedded with familiar signs, visual ambiguity allows a very open dialogue to emerge between a painting and its audience. I rely on our desires for beauty, poetics and the seduction of art history to inspire this exchange.
For me, the physicality of the paint itself is perhaps more important than the image created; it is tactile, permeable, malleable and through a process employing mark-making, pleasure and aesthetics, has the power to make visible what can be overlooked by the historicising of the artist.