My practise is centred on approaches to the substance of paint as a pre-loaded, genetic material where marks and surface, pigment, history, place and myth are part of a genetic code of painting as art. Supporting this approach, I use the context of how and where the painting is made to reference broader structures that inform the meaning of its setting: animal husbandry, agricultural systems, psychiatry and international interaction for example.
Through all of my work, the use of underlying structures and re-presented contexts are used to erode the boundaries between nature and culture, mind and body. It is in this context that I look to various forms of painting to simulate conditions where art is seen as both a bodily and a natural process: lung disease and 19th century landscape painting, self-portraiture and mental illness, exoticism and attention disorders, animal and human. These aspects contribute to a malleability of the historic ideals of painting in a variety of constructs with different results; psychological, biological, esoteric, local and international.
CV & Education
2013 - Farm Shop, Nantyffin, Brecon Beacons
2012 - Scalped, curated by Sarah Gillett, Goat Major Projects, Cardiff
2012 - The Autobiography of a Super-Tramp, G39, Cardiff