The approach behind the artwork is firstly visual and secondly conceptual. I apply paint to the surface with quick even dry short strokes that build and amount to the image. The result is that of a slightly blurry monochromic photograph encouraging closer inspection. I am purposely generating a journalistic photographic appearance to direct the viewer’s attention to the non-narrative narrative. With this formal structure in mind, one may consider what is being viewed as an actual event, or accepting it for what it is; the context becomes personal. The situation in each picture seems innocuous at first, but the complex conceptual qualities gradually unfold. My intention is that the allegorical elements reflect a larger cultural malaise and environmental disruption. There is a deadpan irony to the work that dissipates after the initial introduction. The conceptual arrangements are presented in a polemical fashion and left open ended. Mark making refers more to the simplest human declaration of existence after speech; thus I gravitate to this process to record the current state of our condition, both personally and historically. The scenes are rendered in their most appealing strength, allowing the recontextualized landscape or stressed mental environment to be embraced comfortably. Inevitably presenting what we want to see and if we want to see it left in plain sight.
