The paintings I selected for my MA show were chosen from a body of work during the installation, rather than being thematically prescribed, or made for its purpose. I have an ongoing and continuous method within my practice that is intentionally not separated or delineated into conclusive statements. Working from a range of source imagery, I retrospectively break it down, selecting in order to form dialogues or moods. Often I work from aesthetically implicit material, selecting initially from what I perceive to be a poetic tone within an image, from the possibility and the failure of revealing this through painting.
The curatorial premise for the MA show was made collectively, its delivery of display intended to be disparate and jarring. Conceptually it related to some of my concerns as an artist; I work at times from a point of deliberate ambivalence, selecting imagery promiscuously from personal photographs and images containing universal tropes of painting, photography and the cinema.
In the process of painting I repeat the image to further understand it, to reiterate each inherent possible meaning so that I can change it into something else. This begins with the most literal and direct remaking - a necessary prelude to the kind of image I am trying to make - I then begin to strip this away, so that my paintings retain the remnants of an image containing a residual physicality.
CV & Education
Qualifications and training
2009 - MA Fine Art, University of the West of England
2006 - BA (Hons) Fine Art, University of the West of England