I have been working mainly within the genre of Still Life for over ten years, particularly attracted by its traditions and scope for metaphor and symbolism. Increasingly, the work has developed a focus upon the essence of the material object in space as a reflection upon notions of being and existence; it is mostly quiet in nature, presenting a foil to contemporary mores and brutalities. A primary motive is always to produce a beautiful art object which satisfies my formal concerns of composition and tonality, and which suggests a convincing reality or tangibility rather than being realistic per se. Yet I have no desire for my work to be prescriptive; I would wish the viewer to bring to it their own narratives and experience – should they find some concordance, well and good, should they not, so be it.
My work is mostly on paper, that most beautiful and receptive of surfaces. I like to move freely between intaglio printmaking and mixed media drawing, and to let the mutual influences flow. My favoured printmaking technique is drypoint on copper plate, enjoying the directness of the method and hence similarity to drawing. The prints generally are realised through a manière noire process, whereby a complex ground of marks and tones is laid down using traditional tools such as drypoint needles and roulettes, and less conventional ones such as carborundum papers and a concrete floor; the image is then burnished out and further refined from within this underlying dark chaos. The drawings often involve a similar layering process of pencil marks over an ink grisaille, followed by continued use of pencil and ink to develop the final image.