SONY DSCA central concern of my work is the tension of attempting a pursuit of visual pleasure or play through such a historicised and constrained medium as oil painting. How does the sort of pleasure achieved from looking at the colourful surface of an oil painting compare to say looking at a nice cake or your new i-phone?

The paintings take cues from accidental and man made features around me, things like carelessly painted over billboards, patterns formed by wear etc.

I try to emulate the processes which create the ‘painterly’ beauty I see around me; controlling the paint with dams made of nails and tape, trowelling or pouring it on or off. Messing with the mixture causing paint to flocculate, crack or form skins –there is great pleasure to be had later on in squeezing or pulling these until they burst or rip like a scab. Paint is often sanded off – islands of colour appear beneath, join up and reveal further islands of colour below. Afterwards the work is sawed up, bolted or screwed together until it ‘makes sense’. An experience I associate with this push and pull between matter and sensation is the strange gratification gained from making a little man out of blu-tac and then crushing him between your fingers.

I am interested in how the intimacy of close examination of the part relates to the experience of the whole. A particular effect of painting is that on close inspection the image we perceived from across the room breaks down and instead presents us with a kind of topography of paint. This inversion of scale –this moment which is simultaneously small and tactile, revealing of process but also allows us to fly over the surface enjoying cracks, peaks, colours, lakes of gloss is what fascinates me. This is something that connects with childhood and maybe eating.

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