My paintings move between different ways of making and reading images. Carefully painted figures sit alongside abstraction, typography, vintage ephemera, crude marks and familiar cultural imagery. I’m interested in what happens when these different visual languages occupy the same space - when something personal collides with something disposable, or an image carrying emotional weight sits beside one that seemingly carries none.

I’ve spent most of my life both making and consuming images. Alongside painting, I’ve worked for three decades in illustration, design and visual communication. That experience inevitably finds its way into the work, but painting gives me a different relationship to images: less certain, less functional and more personal.

I usually begin with fragments - notes, photographs, sketches, found imagery, remembered images, colour combinations, or something I simply want to paint. The work develops through accumulation and revision. Images are layered, painted over, exposed, destroyed, redrawn and sometimes allowed to remain unresolved.

I’m interested in paintings that can be entered quickly but don’t completely explain themselves. Recognition, humour, beauty and visual pleasure matter to me, but so do contradiction, absurdity and uncertainty. I want the work to reward sustained looking without resolving into a single prescribed reading.

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