I frequently produce paintings on (or prints from) distressed or textured surfaces to reference ideas of decay, of temporal concerns, or the layers of histories.

Through the combined use of colour, form and texture, I attempt to produce imagery that I hope speaks about the things that are there but not quite there – that what is suggested is just as important as what is depicted. I bring a painting ethos to my printmaking practice – in fact, the two disciplines continually feed into one another.

My practice has become more process driven as I continue to explore the possibilities of stretching out the pigment. The work is built up layer upon layer and there is often an element of chance to this (or ‘happy accidents’) as the image emerges and evolves.

Through this teasing out of colour and intuitive mark-making I endeavour to create imagery that is less about a recognizable reality than it is an attempt to capture a feeling – the fleeting moment – in my work.