My practice melds the mediums of oil painting and printmaking and is characterised by an interplay between spontaneity and precision. Using photography is not an end in itself, but rather as a source of inspiration, providing reference material. In the words of Gerhard Richter painting “shows something that isn’t there”, process that is not possible through photography alone.

Through my work, I am reconciling two contradictory notions: the ephemeral and fluid nature of time and the intensity of individual thought and feeling. My paintings depict vast scenes that are detached from the feeling I attribute to them, emphasising the fleeting nature of images in the contemporary world. It is through the process of painting that I connect scenery and inner emotion.

I am inspired by the blankness of images one sees when travelling, lost in thought, and the post-industrial landscapes that pass the window at high speed. The images I paint are blank stares, gazing into the distance – similar to the feeling of travelling home and being consumed by my thoughts or feelings. The detachment of ones inner consciousness and ones surroundings intrigues me.

I am particularly drawn to the vehicles that propel us through this ever-shifting world—trams, trains, cars, planes—symbols of societal progress. Just looking at the massive changes that these vehicles have endured through the years is an experience strong enough to open a discussion on how their representation has changed.

My studio practice is responding to the fastness of the photographic sources. I prefer to use a trial-and-error-basedapproach than a slow build-up of my work. I am responding to the saturation and prolificacy of images in contemporary society. I cover the surface in thick oil paint and wipe away using solvents and various self-made tools to uncover the bright ground colour. In this manner, the paintings themselves become ‘almost abstractions’ of the images I take, which is inspired by the paintings of Carol Rhodes. Through editing, projecting, painting, wiping away, and repainting, the image changes and holds a trace of what was originally seen.

I like to look at this process as if it would be the specific moment when an image in my head slips away as I try to remember it. I am interested in the properties of images and their very particular transitory status in the contemporary world. The ever-changing mental representation of an image from memory is an element of significant importance in my practice. In the end, each painting is usually adjacent to someone I have met or is present in my life. Their presence continues in the act of painting, and the image can be influenced by thoughts from a different time or space.

All works are for sale, please enquire using the contacts below for a pricing list.