Over recent years the approach to my work has moved substantially from a stable, but not static, environment to one that is increasingly organic and chaotic. The pandemic caused restrictions in terms of scale of work, studio time and gallery visits, as well as having created a circumstantial, non-nostalgic platform promoting elements of time, place and being.

My imagery has arrived on the back of instinct, in speedy response to the ‘now’ and has become projective rather than reflective. Whilst working methods have always demanded change, I have found that past systematic, more established procedures have become chicaned, confining my working activity and delivering focus to a more immediate response to the sense of being.

There lies a fine balance regarding the co-existence of text and imagery across a surface. There is a further fine balance conjured by the reception of fast fed information – information governed by news, fake news, conspiracy theories etc…

In order to assimilate this almost force fed data, I have developed an immediate and simultaneously disposable attitude to the act of making. To dampen the ‘impending neurosis’, both imagery and text in the work have become less formal, more erratic and rely increasingly on instinct. Drawing has become ‘one shot’ and error filled. The written word has less formality. It is now a new language demanding to be deciphered. Lines of text often partially obliterated become at times simple mark making, seen as a meditative ingredient similar to the implication of a single colour.

My attempt is to represent the transient, the uncertainty of returning, leaving and beginning and the scents and sense of being when faced with a moment in the world where integrity in real terms is subsidised and underwritten by a mild form of hallucination.