Archive of selected work

    “It seems like nothing really matters anymore.” oil on canvas 25 x 44 cm 2003
    “When and where?” oil on canvas 25 x 55cm 2003
    “I appreciate you coming in so early this morning.” oil on canvas 90 x 120cm 2003
    “Nothing ever gets out of here.” oil on canvas 112 x 200cm 2003
    “What I want, what’s important to me, is a guarantee.” oil on canvas 90 x 120cm 2004
    “It occurred to me, in my last letter, I may have misspoken.” oil on canvas 38 x 50cm 2005
    “I certainly know the consequences of the slightest miscalculation.” oil on canvas 38 x 50cm 2005
    “Why did you bring her to this place?” oil on canvas 38 x 50cm 2005
    “I’ve always been standing in your doorway.” oil on canvas 38 x 50cm 2005
    “I thought a few dollars would be easy to rustle up.” oil on canvas 38 x 50cm 2005
    “We have an odd and somewhat personal question to ask.” oil on canvas 67 x 120cm 2005
    “I don’t understand,,, did you pack your bags before you got locked out?” oil on canvas 67 x 120cm 2005
    “The rest is shadows, the rest is secret.” oil on canvas 67 x 120cm 2006
    Untitled oil on canvas 30 x 66cm 2007

    There is something very special about the cinematic experience that effects us so strongly. It is a world that exists in parallel to our own, impersonating reality in every superficial way, but more intensely; “it makes the world more than it is”. (Gilbert-Rolfe) 

    This work acts principally as mediation. Derived from film imagery, these paintings deal with our perceptions of this illusionistic film world and question the truth of the scene presented. The film world turns reality into a set or stage. Even the most rigid of structures can be reconstituted through photography and filmic devices. Through this filtering of information an image is removed further and further from its origin and is allowed to take on an identity of its own. 

    Colour relationships are a key factor in this work as the paintings deal with lighting and atmosphere.  How to convey claustrophobic interiors, the purity of external light or the glow of artificial lighting are challenging painterly concerns. Glazes of transparent pigment are layered to create a smooth, flat surface that suggests the fluidity and vibrancy of film. By building up the layers in this way, the paintings mimic the developing process of photographic prints. It is the reverse of bleaching a photograph yet has the same effect of striping down the components and deconstructing the image. 

    It is important that the scenes feel like moments in time that have events that precede and follow. They feature doorways and windows that offer a space beyond. These ambiguous sets are each composed of elements that relate to our understanding of space, but information is held back so that they are open to interpretation; the precise reading may differ from viewer to viewer.