I make paintings that use humour as a catalyst for other emotions. On the Internet images are poor quality and equal in size and rather disappointing. In the paintings, deploying a rather punk like attitude to the painting process itself allows me to invest the representations with a new and vibrant existence. All the paintings contain figures and situations that are vaguely recognizable from the communal bank of popular imagery. I fuse images together, and therefore the DNA of the final image becomes more multifaceted than its original.

The history of painting has always captured the spirit of its era, and my work is no different. I am researching the contemporary phenomenon of an age of ‘awekwardness’, where information and images are floating around on the Internet in no particular order and where we seem to live in a world of impermanence. What is the relationship between prejudices, fantasy, making assumptions through lack of knowledge, and how do we make connections through patterns in both language and image?

In relationship to my paintings I create circumstances with objects. The objects, on the other hand, serve to organize the paintings, in space for the viewer – they direct your relationship with them in both a physical and intellectual way. There is a visual force that is at once incongruous yet magnetic. The work is a series of tense relationships confused by the historical weight embedded within painting.

On the Left, 72 A3 prints and On the Right, 72 A3 prints