The trace is a strong part of my practice. Works’ are opaque and multi-layered, aiming to capture the layers and fabric of the mind whilst highlighting the vagueness of borderline experiences and the complexity of the psyche. I’m driven by the desire to leave some evidence representing existence. There is an unsettling tension from the fear of something created being washed away. For example, I make comparisons to the act of graffiti by using spray paint in my work. Through a process of driven observation, my aim is to engage the viewer and increase understanding of the particular subject matter represented in the works. Using a diverse range of media, including photography, video, model making,drawing and painting I focus on creating a connection and dialogue between memories of an erased hidden architectural past and memories of childhood to the present day. Previous works , influenced by the work of Japanese painting, Peter Doig, Silke Otto- Knapp, Gerhard Richter, Luc Tuymans and philosophers Gaston Bachelard and Antony Vidler, I focused on depicting recollections of rural and industrial landscapes into strangely familiar places. I worked mainly with the digital image as a point of departure and worked onto the surfaces with a restricted and muted palette. This particular process hinted at the fragility of memory and acknowledged how thoughts about the past become hazy, blurred and transpire as a flickering snapshot of something or somewhere stored within the mind. Such works were shown as projections and latterly videoed, signifying moving across a landscape saturated with memories, fading to black for several seconds and then to white, thus acting as the process of closing the eyes and thinking. Other works, including Moments in Juncture, (see portfolio of work), explores disengagement with the world and aims to convey individuals at thresholds’ in their thoughts, decision making and emotions. The photographs aim to create a certain psychological tension and the ambiguity of the image prompts the viewer to think of their own narrative. Current work has evolved as I reinterpret and absorb various aspects of particular artists including Antonio Tapies, Henri Michaux and Jean Michael Basquiat and is developing a language whereby textures, forms and marks come together to create a spiritual, philosophical and cathartic response to the world around me. Working with ink, ash and charcoal, hard edged gestures are used autonomously on board, paper and dust sheets to form images that represent marks and abstract beings inspired by history and existence. The supports hold the memory of touch from periods of aggressive human scribbling to gentle rubbing away and smudging.This autonomy within my current work is played out in the resulting of visible forms whilst not conforming to a specific nameable place or object. Drawing and painting based gestures using raw materials including ash and coal all play a significant role in my work. They are materials that guide me in creating works that offer an opening into a world of visual perception. At the same time by using such materials as a means to question my experiences in the world, by extension, offer the viewer a means of exploring their own relationship(s) with and their visions of the world around them.