In am interested in the ephemeral nature of the built environment. The subject of my recent work is the quietly ageing post war housing estates which occupy sites on the fringes of the city or co-exist with the glass and steel structures that dominate the London skyline - places where I am able to find a temporary relief from the insidious pressures of the corporate world. My paintings respond to the scale of the vast developments, the geometric aesthetic of the architecture, and associated notions of the sublime, as well as the inevitable entropy to which they succumb. I am fascinated by the ideas which shaped the original social and architectural concepts, the gradual transformation of these spaces and the dystopian themes associated with them.
I usually work from photographs, first editing composition and content, often tightly cropping the image and manipulating perspective, before making preparatory sketches and detailed base drawings. Deconstructing the image in the initial drawing stage is integral to my analysis and understanding of the architectural elements and natural forms. I consciously curtail references to people, obliquely exploring notions of isolation and solitude, whilst retaining fragments of narrative alluding to some form of human presence. The dialogue between drawing and painting interests me and I strive to achieve a balance between working meticulously and applying paint more freely as the painting evolves. I use a combination of controlled and precise brush strokes and mark making, creating areas of definitive and detailed rendering, and looser methods of working, such as dripping and pouring paint, manipulating pools of washes which settle on the surface, staining the canvas.
‘Entering the Anthropocene’ is an ongoing series of paintings and prints, which respond to JG Ballard’s, prescient ‘The Drowned World’, which I read during a period when I was regularly retreating to the calm otherworldliness of London’s Barbican. Exploring the parallels between the post-apocalyptic future depicted by Ballard and the increasingly extreme ecological conditions that we are currently experiencing, the work is also concerned with the fractured global response to climate change. 

‘A Forgotten Future’ is a series centred on the once futuristic concrete tower blocks, low-rise maisonettes and elevated walkways of the Thamesmead estate in South East London, contextualised by plans for a £1 billion regeneration of the area, whilst ‘The Demise’ responds to the rise and fall of Glasgow’s Red Road estate - a once iconic feature of Glasgow’s skyline.