The physicality of paint is historically loaded and can sometimes seem bombastic or slight in application. This is something that I have purposely avoided through out my painting career by means of process and economy of application, which I believe is a key part to the discussion and narrative of the work.
The ‘process’ developed from a keen interest in printed lithographic material; initially a way of placing the end image in a historical time line within the subject of ‘mass communication’ and through the use of muted colours and hazy imagery.’
