My work is concerned with abstraction as a means of expressing the human condition and with notions of authorship and authenticity.

I have consistently been interested in the autobiographical – both as an impulse for making work and as a filter for reading it - and have been trying to find a way of making work that has its roots in personal experience – since after all that cannot but be the source of one’s work – but which is not quickly reducible to biography by the viewer.

I am interested in the way in which subjective experience feeds into the work and how after it is made, an understanding of what I have made begins to grow.

There is a tension between a desire to control the form and allow the form to create itself. For example, with the drawings on plasterboard the etching tool I use to incise the lines will often slip, such that the line is also determined by the support itself. With the wire drawing, the process of repeated attempts to untangle it gives it its form, while the thread follows the form and tries to loosely ‘contain’ it.

The resulting work is both a response to the subjective condition and a starting point for new associations made through viewing where the viewer is myself as well as other people.

The gestures are repeated again and again. Repetition obviates the need to keep looking for new subject matter so provides a kind of relief and solution to the problem of ‘what to draw’ but that does not mean the issue of subject matter is wholly resolved, as the subject is not the thing apparently represented. Repetition and visuality are key aspects of trauma discourse: traumatic events, unspoken and unspeakable – but intensely visual - remain in one’s guts, in the recesses of personal, individual and collective memory, always there as a threat, awaiting their moment of return