My practice investigates the relationship between the real and digital worlds, between a painting and a photograph, attempting to find balance in my internal dialogue with what defines an image. Having worked across a range of specialisms and gaining experience in a number of processes including photography, printmaking, sculpture, and installation, painting has become the defining medium of my practice. 

At first, my paintings appear to be confronting - viewers are faced with an other-worldly, monochromatic, solarised portrait of an unknown and unidentified portrait. Painting from a photograph creates a work with an uncertain position. They are stuck in the middle of being an image and of being a painting, and therefore between being and not being. As such, they are synonymous with the hybrid works of Gerhard Richter (b. 1932) and Richard Estes (b. 1932), where image and paint are equally seen and assigned. The mass of the canvas transforms the photographic reference into a physical being, as something to be examined, until it becomes transfixed in its completion. In this way, I develop a relationship with my paintings, working to achieve a successful outcome, based on a desire for representation. My preoccupation with this representation, by employing a photorealist approach to recreate a reference image displayed on my computer screen, exaggerates the painting’s place as a mere image. 

I see my self, first and foremost as a painter, however, more recently, I have come to understand my position as something else. Painting the realities of the screen, which acts as the facilitator for the image to exist, solidifies my role as translator. These realities, consisting of reflection (of myself and my environment at the time of creation), the blue-toned solarisation when viewing the screen against typical angles, and the build up of static dust on the screen’s surface, ultimately lead to the mutation of the original image. I have named my paintings Screen Studies. In this way, my work confronts viewers, and initiates their questioning and understanding of the power of an image and therefore, the nature of viewing.