My practise involves creating paintings by following a strict process, I work paint into prepared recesses on the surface and experiment with different drying times so that the paint forms a dried skin which can then be cut away and manipulated, this process is then repeated until the recess is empty. There are three main factors to my work; material, process and the visual experience.

By limiting myself to white household gloss paint I can experiment in the surface and texture. I can explore how the paint reacts and how I can push the boundaries of the material. The paintings are not influenced by a theme or political perspective but only by the materials used. The works are also untitled as to not influence the viewers understanding and opinion. This also allows them to exist independently of external influences, allowing wider interpretation. The paintings could easily be manipulated by a title and not allow the viewer to appreciate the properties and materials for themselves.

The process is central as it is this that defines the finished pieces and allows the viewer to read the history of the making. Exploring what the paint will do and the process of making rather than the finished piece. I allow the viewer to see the details, including the flaws, as an insight into the production of the work. There will never be a final outcome or conclusion as there are endless possibilities for experimentation.

The visual aspect of the art is also an important factor. Having an active viewer is important to my practise as it is this that produces interpretation rather than my own imposed ideas. The viewer is left the task of interpreting the pieces and creating their own meaning or understanding from the work.

My ambition is to have a practise that has freedom so that I can experiment with no justification whilst improving so there are no flaws, creating perfectly flat backgrounds and perfectly manipulated skins through pushing the boundaries of my materials further.