Prior to studying my BA: Honours at Chelsea College of Art (1995-1998) under

the remarkable tuition of Noel Forster, Clyde Hopkins and Roger Ackling, I

performed at the Bauhaus Museum in Dessau in 1990 with Vidal Sassoon as part

of the 50 years of Sassoon tour. This initiated a fascination with the Bauhaus art

movement and it’s history and reflected my own creative practice. I realised I

have an interest in creating works, which manifest my conceptual understanding

of the environment in which I exist, internally and externally – physically and

metaphysically.

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It began with an interest in analysing a binary thought process while making,

where unconstrained, expressive mark making gave way to a more refined and

controlled consideration in the form of the constructed line. Subsequently, the

two coexisting and being deployed evolved into an interest ultimately in the

restrained line, minimalistic approach to attempt to create order from chaos.

Further considerations catalysed my interest in architectural space, time and

light.

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My work also endeavours to incorporate orthographic elements of lexical

construction and deconstruction alongside mathematical concepts to attempt to

create an order from the complexities and chaos the world can be perceived as.

Recurring motifs of technical drawings especially of ellipses embody the

blending of the concepts associated with notions of lexical and numerical

language and are represented in titles such as Construction and Deconstruction of

the letter O and the Number Zero. These technical drawings allude to the basis of

the complex systems formed as part of the human condition in order to

communicate and comprehend.

These works also question the notion of status, equality and equity within the

works themselves and externally. They allude to design, and question the

placement of artworks in specific sites and the gallery space itself, observing

such disciplines as typography and the creation of fonts, for example - the Swiss

Sans Serif type Univers.

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The exposure of particular materials e.g. masking tape, packing tape, the painting

surface or the primer, which are generally hidden from view, are exposed and

integral to the composition, in an attempt to elevate their status. Other pieces are

sandblasted sculptural works on Perspex alluding to sculptural carving into the

surface and the question concepts of transparency and opacity, light and shadow.

As they are produced, they follow a process, which uses a unified design idiom, in

an attempt to seek harmony, consistency and cohesion and although appearing

the contrary at first, avoid a perfect geometry.

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