My practice revolves mainly around painting. I am interested in the spaces between things, the gaps, the edges. Often taken from certain films, the figures in my paintings become fragmented, tentative images where at times nothing is as important as something. By responding to and reimagining these figures, new conversations are created between works and the spaces they are shown in.
Often, when I’m painting, I find myself wondering ‘does John Carpenter paint?’
I think that if he does, he paints beach-balls, and that these beach-balls could just as easily be large gassy planets, or aliens with clawed feet.
I allow these stray thoughts to float around and at points maybe enter into the work. I wouldn't mind if a stray beach-ball (kicked too high) drifts into the scene and lands splat in the mud of a boggy swamp.
Achievements & Experience
A significant part of my practice centers around collaborative projects and group exhibitions. Over the past couple of years, Erin Gillies-Langdon and I have been organising the collaborative publication ‘That Chopping Sound’ which allows fragments of text and images to collide...merge...mingle in a scrap of town newspaper. ‘A Performance at Hog Theatre’ is another recent project I have set up as a website which invites artists to collaborate in producing a piece of work to be exhibited and then archived as an online space.
Further projects include group shows such as Why Smash Atoms, PS Mirabel, Manchester, Micro, AIR Gallery, Altrincham, That Chopping Sound, SPACE Gallery, Bristol, The Manchester Open Exhibition, HOME, Manchester, Fake Covers for Fake Music, Hilbertraum, Berlin and (upcoming) BEEP Painting Prize 2020, Swansea.
I have recently received a Spike Island Fellowship which gives me a studio space at Spike Island 2020/21.