If my work is about anything, I think it may be an attempt to express vague musings about the passage of time made corporeal through certain images surfaces and textures. According to the Maurice Denis dictum, 'before being a horse, a nude or some sort of anecdote, a work of art is essentially a flat surface covered with colours assembled in a certain order'. So, first and foremost, I suppose my work is essentially about the material I use, assembled in a certain order, torn, stained, scratched or etched into.
We are surrounded by technological wizardry which the vast majority cannot understand: a digitalised, pixelated and electronic world on the surface of the catacombs of time: a past time with which it becomes increasingly difficult to engage as we become more and more embroiled with technological overload. I would be quite happy to see my work as a place of retreat as it is a deliberate remove from a digitally manipulated, glossy advertising culture with an emphasis on instant gratification.
I use card that has often been used as packaging for this consumerist society and then discarded. I am not interested in impact as such, but work that reveals itself over time.
I also like the idea of working with slate because of the age and nature of the material. I am interested in the journey from the seabed to the the quarry, from the quarry to the rooftop, and from the rooftop to the artwork.
Writing about Richard Diebenkorn's 'Ocean Park' series of paintings, Robert Hughes wrote that one heard ' neither the chant of surging millions, nor even the chorus of a movement, but one measured voice, quietly and tersely explaining why this light, this colour, this intrusion of a 30 degree angle into a glazed and modulated field might be valuable in the life of the mind and of feeling'.