When I started making these pieces I had no fixed idea only that I wanted a progressive accumulation of marks more akin to automatic drawing. I was aware of one distinction, the interlocking of these continuous tubes or lace-like structures extending out to the edge of the canvas. Not completely covering the whole surface turned the eventual structure into an object hung in space, like some kind of hide.


Once completed I felt like they had an environmental aspect to them – roots, nerves, an arterial expression and reminded me of those maps of the universe or quantum entanglement. I would like to think these organic forms are perhaps a product of something undeniable if you’re an artist alive today, that our conscious and subconscious connection to the planet is paramount. But with other work based on autobiography I believe these came about as nothing more than a meditative exercise, the opposite of remembering.



Day One Eleven


Analytical psychologist Carl Jung advocated the presence of meaningful coincidence which he called ‘synchronicity’ and believed the paranormal played a role in manifesting this. Symbols, specifically the number one eleven have occurred repeatedly throughout my life even appearing as the first three numbers on my social security when emigrating to the States. I neither dismiss them or see them as some kind of ethereal guide but rather engage with it as these drawings testify and understand that it is an extension of my awareness. I still have the option to choose whether the numbers are beneficial or malevolent.


Day One Eleven was born out of necessity as a way to continually draw people and have people in my life through creating these scenes when they weren’t available to draw from life. I took references from film books or anything with people interacting, family photos, magazines, rearranging them as though they were being cast in a play, realizing a performance, a tableau that eventually went beyond simple figuration. The figures were impersonal which I think allowed a greater psychological state to surface or a naive reflection of history and personal history with titles such as ‘Trying To Comprehend Death Camps’ and ‘Mum & Dads Last Kiss’, to projecting an absurd, monotonous sense of the future with ‘Recording Dreams To Watch On TV’.


The drawings took years to complete with the idea of using time as a material. They remained black and white up until a year ago when I decided to treat them like a coloring book, today often associated more with well-being and in response to the present popularity of the ‘adult’ form and its proven anti-depressant qualities. The recently applied vibrant palette is a contrast to the content from the past. The more recent example “Whistle Blower’ focuses on a fascination with conspiracists and their modes of expression inadvertently showing Jungian theories where reality is inextricably linked with the supernatural. Marker pen and watercolor hark back to my childhood as I would often use these materials when learning about color and draughtsmanship, when accomplishing a drawing was still very much a beautiful, necessary and mindless act.



Poster Painting


Advertising images representing varying concepts of desire are devised to reinforce the belief of the commodity object within popular culture. These effects can be seen as amounting to the inherent value of the commodity, it being no more than a paid into belief.


Over the last century posters have functioned as social and artistic barometers in everyday, cultural, economic and political issues. The aesthetics of a poster today combine slickly finished, enticing visuals with affordability and accessibility. The dichotomy between the projection of a luxurious fantasy and, on closer inspection, the cheap, computer aided layout in the veneer is the catalyst for this work.


The subject matter of these posters constitute a sociological spectrum of fantasy and influential figures of modern popular culture. Celebrities, pop idols, sporting heroes, glamour models are symbols of consumption often ephemeral as the paper they are printed on. Motivation for reshaping the original format of the poster comes from the unease of this easily seductive consumption which I believe is inherent within the image. I allow the initial image to indicate its own modification, a subjective response to a format conditioned by the high-street. When found, the initial poster as ready-made about to be adjusted can be seen as in flux, unfinished in its off-the-rack format awaiting interpretation.


In creating discord across the surface of the original and over-exaggerating obvious titillation I hope to take the image to its furthest point of absurdity. In doing so the initial visual codes of the poster are exposed fully rather than being simply trapped under the glow of received agendas.