The paintings are concerned with my experience of location and memory, and the connections and juxtapositions they may suggest - an attempt to make a response to the unclear glimpses and selected fictions of reality.

I utilise chance and change, and incorporate found material specific either to the location and or the concept of the work. The found material can be in the form of text, xeroxes, photos, maps, sheet metal, textiles, computer generated images, ephemera etc. This material becomes the initial layer which is then painted over, scratched through, sanded off, acid dissolved in any combination and order.  The finished painting becomes charged from the build-up of the various layers, traces and processes, as well as from the guiding idea and image.  The finished surface always shows, to a greater or lesser degree, the history of the working process, even if it is not overly clear what that history has been.

The use and interaction of different materials and processes is a fundamental part of my working procedure.  I am fascinated by what the actual “stuff” of painting does when used in combination with different materials.  These, often chance, combinations can lead to intriguing discoveries of texture and patina.  The possibilities unleashed by this process is one I find continually exciting. 

The painting has to have a satisfactory tension between control and intellectual input on the one hand, and the intuitive and unpredictable on the other.  The paintings are often worked on and changed over a long time period.