Over many years, I have come to understand my painting as a cultivation of the Negative Capability embodied by the medium and the supporting surface, developing a studio-based practice which attempts to articulate this. I am particularly interested in how processes such as homeostasis and Brownian motion might be embedded in painting, to manifest as an open question concerning a commons. For me, a painting’s potential is defined by that which it does not possess; it stands as a reflection of the inherent lack of certainty that characterises our lives. A painting does not need to be clever – things can never really be fully worked out – it exists in uncertainty. Dealing with the physical and historical stratifications inherent in working with the oil medium, is like a mining, with all its implications. As a painter, I am contributing to the MA Fine Art (Digital) research project at UAL Camberwell, that’s exploring and defining what art is in the digital age.
A recent collaboration with american poet Nicholas Gulig:
Earlier works at my website, and MA blog:
and email contact: email@example.com