My work is process based. I drive to a location, take photographs, archive and review the photographs and then make paintings from the photographs one by one. The photographs are not direct references, but they do inform the composition. The act of painting is relatively quick and I often make several paintings in a short space of time. Some of these naturally present themselves as critical pieces of work, some of them don’t. In some ways the work mirrors the process, critical pieces are fluid and un-meditated. I paint with oils on finely sanded plywood surfaces. The small to medium scale of the work creates a concentrated intimacy between the subjects of the painting and the paint medium itself. This physical expression of paint sitting on the plywood is important to me - using the shape and direction of the brush to create forms in the paint marries the content with the medium.

The resulting paintings are often a source of great comfort to me as they depict images of a kind of home - rural houses, sheds, yards, objects and workshops. They are so familiar, yet there is an element of foreign-ness about them. I am aware that there is something slightly devastating about them also, a subtle presence of loss or banality resulting from loss. While the paintings don’t reference this directly, they talk around the subject. They say very little while alluding to a lot.