statement

Whilst studying at Goldsmiths' College London in the early 1990s when the trend for conceptual art was well established, one was obliged to justify why one would paint, constantly arguing for the validity of the practice once painting had been declared "dead." I abandoned painting within a year of study.

Ten years later when asked by a friend to paint a portrait, I worked up the courage to paint again. I've been painting ever since.

In my work I often set up a conflict between the verbal and non-verbal. I  am interested in "unanchoring" the confines of language.

I apply paint meticulously in many flat layers, "sculpting" with colour, to achieve a life-like glow.

I am intrigued by our predisposition to collect, to organise and objectify as a way to draw boundaries in our lives, and create a sense of control over our surroundings.

My paintings often playfully present a collection of the truly uncollectible: shadows, the self, the body. When representing flesh I do not allow the viewer the fantasy of possession, body parts, to which one cannot apply a label, cannot become sequestered object.

"Untitled" 2009-2010, whose machine-like spiral of hoses do not connect, will not allow the viewer to formulate and impose an interpretation of function.  

bio

born: Euclid, Ohio

education:

School of Oriental and African Studies, University of London, MA, Archaeology, 1993
Goldsmiths' College, University of London, BA, Fine Art and Art History (Honours), 1992

selected group shows

"Ludlow Summer Exhibition", Ludlow U.K. 2010
"ArtWorks Open 2009," Barbican Arts Group Trust, Blackhorse Lane Studios, London, U.K.  2009
"50th International Award Exhibition," San Diego Art Institute, San Diego, CA 2009
"Transition," Bargehouse Oxo Tower, London U.K. 2009