I have always been interested in drawing and painting as an action; a process, not just as a means to create an image. Over time the process has become more significant in my work and the introduction of self-imposed rules initially led to a disregard to the image produced. This in turn freed me from many compositional decisions and partly handed over the responsibility for the finished composition of the painting to the actual process. However, this process is constantly evolving and defining the work at any one moment in time never seems satisfactory.

My work as a painter is a cross between art, science and nature. I am influenced by the artists of the past and present such as Jackson Pollock, Bridget Riley and Gerhard Richter but also the rules that govern nature and the diverse patterns it can produce. This led me to the work of mathematician Benoit Mandelbrot and the Mandelbrot Set as an example of a complex structure arising from the application of simple rules, and fractals, which are defined as portraying exact self-similarity. While fractals are a mathematical construct, they are found in nature, such as the branching patterns of rivers and trees where they grow and divide.  In my work I combine these interests as I look for patterns in the splashed paint to create codes and apply self-imposed rules as a way to complete my paintings.

The initial stages of my painting process firstly involves placing, pouring or splashing paint and secondly identifying patterns in the resulting paint effects. The patterns are then used to create rules that frame, fill or link the splashed paint together with fastidiously drawn marks or lines. These self-imposed rules are carried out to the nth degree; no evaluation takes place. Images that emerge can rarely be envisaged. The result is an illustration or map of something that is both visual and non-visual: a process-led composition reflecting my former expertise as a cartographer whilst demonstrating my thought process and decision making as I attempt to bring to the fore the repetitions and patterns that occur in the apparent mess of chaos.

In parallel with this, color is important and always carefully considered from the start of the painting process. I am intrigued with the science of color and how it works in nature from a vast landscape to a tiny flower. Often I will use simple shapes as masks for the splashed paint with various color combinations to bring attention to the way we see color in nature, highlighting the illusionistic effects that complimentary colors can have on pictorial space and figure/ground relationships.

2008 – Nominated for Jerwood Contemporary Painters.
2007 – Celeste Art Prize: shortlisted (Professional Artist category). Painting published in exhibition catalogue.
2006 – Celeste Art Prize: shortlisted (Professional Artist category). Painting published in exhibition catalogue.
2005 – Bloomberg New Contemporaries: shortlisted.
2005 – Wimbledon Art Studios’ Annual MA Drawing Prize (Third Place).
2004-2005 – MA Fine Art: Painting, Wimbledon School of Art.
2004 – Nominated for the Idris Pearce Prize. An annual award for an outstanding Fine Art student.
2001-2004 – BA (Hons) Fine Art: Painting, Wimbledon School of Art.
2000-2001 – Foundation in Art and Design, Surrey Institute of Art and Design, University College, Epsom, Surrey.
1980-2000 – Cartographic Surveyor and a Graphics Illustrator.