An investigation into the diamond as both form and symbol reveals its peculiar mode of activity: one that leads to growth beyond the idea of a fixed centre and in which new spaces support a release of tension enabling softer, more adapatable forms.

The artists' canvas is co-opted as the neutral ground on which to explore the emergence of consciousness. Following the artistic process as it (re)cycles between preconcisous origin and conscious act in search of a new form, I find metaphors for our individual developmental mythologies - in the realised potential of a finished painting and in the interruption of a painting before its form is found.

Threshold (folded form, drawings, consolidated print)
In a damaged painting, cut out shapes, with seemingly endless possibilities, are found unable to change beyond their severed forms. Through acts of folding, tracing, placing and consolidation the form is exhausted, finally found resting on its fragile support. There is nothing to be done other than to start again.

Assembly (painting series: Head_Land, Robin's Egg, Aphrodite's Mirror, Two Wings, I Crawl)
Through processes of washing away, sanding back and overpainting, conscious and unconscious forces engage in doing and undoing – mythology tells us destruction is also a creative act. The stretched skin is fragile (calico and muslin laid bare with clear gesso) and requires a support solid enough to withstand the storm. Acrylic is the medium of choice because its fast-drying nature demands drastic, sometimes brutal, responses which help to keep the exchange active. Each painting is seen as a self-portrait, the portrait of an inner landscape under a constant process of renewal.

Collaboration with Lucy Gresley (2017) exploring the subjective plurality of artistic collaboration as an alternative lens through which to view the entanglements of things and our perceptions of them.

Framed by the study of Art and Archaeology at the University of the Highlands and Islands, Orkney (and incorporating a shared interest in Psychology) we recorded intuitive responses to encounters with what remains, exploring the potential of the right hemisphere (our primitive myth-making subconscious) to reach a deeper understanding of the past.

Found pebbles are explored for meanings of erosion and becoming. A perfectly rounded egg-pebble nestles inside a mortar whilst a pair of knarled pebbles nestle together in the parting waves of a open dictionary. Word-play extends outwards from the title of the work - a string of words surrounding 'nestle' on a dictionary page that is aptly headded 'neurotic' - to a net containing a weight. Research notes are stacked, supporting underwater photographs of forms that mirror the nestling pebbles.

Part of a series of residencies on the Jurassic Coast between Portland and Eype (Dorset, UK) exploring sites of (ex)change – where land and water meet – considering the frameworks within which meaning is made and knowledge formed of a constantly changing world and establishing my artistic practice in the triangulation between site (the territory of investigation), studio (the research discipline of working- through) and gallery (re- assembling artefacts for public scrutiny). As in academic research (and as metaphor for the uncertainty of borders) the ‘work’ is considered as existing both in and between the points of the triangle (a constantly repeating loop) despite only being ‘known’ through its publication at exhibition.

A walk along Chesil beach is repeatedly explored through boundaries and their transgression. Pebbles are not permitted to be taken along this protected coastline but what constitutes a pebble? Photographs are taken at regular intervals to measure the phenomenon of pebble sorting - the pebbles get gradually bigger - as you head from east to west along the 18 miles of pebbles beach from the almost-island which becomes gradually mainland. Piddock fossils are examined for the same phenomena but refuse absolute categorisation. This particular walk ends with echoes from a firing range, perhaps a premonition of what is yet to come: Weather Station - a giant inflatable ball - is later co-opted in an attempt to audio record constant change. How will the recordings 'hear' the change in pebble size? By their duration or differing content? Or will the protective bubble completely deny what lies outside?

Part of a series of residencies on the Jurassic Coast between Portland and Eype (Dorset, UK) exploring sites of (ex)change – where land and water meet – considering the frameworks within which meaning is made and knowledge formed of a constantly changing world and establishing my artistic practice in the triangulation between site (the territory of investigation), studio (the research discipline of working- through) and gallery (re- assembling artefacts for public scrutiny). As in academic research (and as metaphor for the uncertainty of borders) the ‘work’ is considered as existing both in and between the points of the triangle (a constantly repeating loop) despite only being ‘known’ through its publication at exhibition.

The relationship between a second world war 'look out' and its estuary view are explored through the interplay of concrete and light. 1:1 scale forms of the structure's window are cast in concrete (a negative version of the stucture's original casting) and light from within a concrete model is cast upon photographic paper. The resulting photograms are reconstructed in collage, each repetition taking the image further and further away from its source.

Part of a series of residencies on the Jurassic Coast between Portland and Eype (Dorset, UK) exploring sites of (ex)change – where land and water meet – considering the frameworks within which meaning is made and knowledge formed of a constantly changing world and establishing my artistic practice in the triangulation between site (the territory of investigation), studio (the research discipline of working- through) and gallery (re- assembling artefacts for public scrutiny). As in academic research (and as metaphor for the uncertainty of borders) the ‘work’ is considered as existing both in and between the points of the triangle (a constantly repeating loop) despite only being ‘known’ through its publication at exhibition.

I make short video and projection pieces from footage and photographs I collect on impulse as I might collect an object. These works are related to specific projects but often sit slightly outside of them, perhaps taking the work in a different direction or pointing towards work that is yet to come. Together they find their own project(ion) in relation, within and between works, in their placement; and in reptition, within and between works, in the loop of presentation, of subject matter.