I initially start with the question of how much I can 'work' a surface until nothing is left. All the works display a multiplicity of marks (scratching, piercing or drawing) which result in surfaces resonant with the prolonged activity of their own deconstruction. I stop working on the paper when it achieves a state of fragility whereby its coherent form would be under threat if subjected to further marks.

The works share in a concern with existence and possible non-existence of objects, with each piece displaying a material narrative of making/unmaking; to allow for the process to be visually and imaginatively 'rewound', allowing for an awareness that a part is missing, each work identifying a loss.