My work has, as does most contemporary painting, two elements: the visual and the conceptual. I am a strong believer in subtly drawing the audience into the idea behind a work, rather than making the idea the only notable plank of a painting. In other words, without the visual appeal or impact that makes someone want to think what a painting is about, or what the idea behind it might be, any attempt at communicating a given idea (in the sort of way that leaves people pondering for more than thirty seconds) will be doomed to failure.
My recent work has been concerned with what we see when our eyes are shut. These paintings are at once a representation of something we see, an abstraction from the same, and a musing on two ideas: that there remains an area which is inaccessible to photography and indeed any other media than painting, harking back to painting's original role; and that our visual experiences with our eyes closed are essentially solipsistic - do you see what I see? Or more, or less? The response to the work has been more interesting than I could have hoped, particularly in respect of people getting what I was getting at, and of their coming back to me weeks later and saying they are still thinking about the paintings.
CV & Education
Qualifications and training
2001 - Philosophy, Politics & Economics, St Anne's College, Oxford
1997 - Foundation Course in Fine Art, City and Guilds of London Art School, London
2012 - Eyes Shute, Menier Gallery, London
2009 - Journeys, James Wray & Co., Belfast
2008 - Woods, Wants & Windows, 54 The Gallery, Shepherd Market, London
2006 - Recent Work, 54 The Gallery, Shepherd Market, London
2005 - A Fondness for Mosses, Bell Gallery, Belfast