My work is a wide-ranging entanglement of found imagery and intersecting concepts that manifest in chaotic and often psycho-surreal narratives. Ultimately, I see my practice as a form of sensation seeking and psychoanalytical tool that speaks of the human condition within contemporary society.
The main theoretical musings embedded in my practice are sensation seeking, semiotics and the Lacanian theory of ‘Objet petit a’. I have ultimately used the aforementioned discourses to ground my disparate ideas and interests. All that influences my work is laterally connected in my psyche and adopting these discourses locates my concepts in a broader theoretical framework.
My painting references are tediously constructed using found imagery and media I digitally assemble and manipulate in photoshop. The digital composition is then imitated and further manipulated via the painting process. This methodology for creating my references is the backbone of my practice. It moulds my work aesthetically and feeds into it conceptually. In part, my work aims to create a distorted or augmented reality as a commentary on reality and/or perception itself. Moreover, I have toyed with surrealism as a further addition to my visual language as it lends to orchestrating my laterally connected ideas and evokes an honest sense of confusion within my psychosocial landscapes.
My practice is an invented visual language that reflects a very personal perception often favouring chaos, subversiveness, darkness and humour. The characters within my work are central to the narratives that evolve. I hold a deep affection and respect for the characters in my paintings and painting them is ultimately a homage to them and what they represent, often – shamelessness, temerity, authenticity and subversiveness. All the above is instinctively packed into a clusterfuck of composed narratives that portray and honour the absurdity of the human condition.