"Stories are about one person saying to another; 'This is what it means to me, can you understand what I'm saying? Does it also feel this way to you?"
The artist is concerned with the manipulation of media, working with images culled from the everyday: tabloid press cuttings, CCTV images,
mass-produced postcards and magazines.
Sometimes banal, often horrific: these snapshots of modern life are destined to be consumed, digested and ultimately deleted.
Images are collected and digitally altered: recomposed, saturated, pixellated. Pixels from a screen are painstakingly transformed into marks on a canvas in an attempt to find a newer, purer image. One that can exist independent of its history. A new artefact.
Pixellation can be about revelation as much as obfuscation, who is hiding what, and why?
As pixels shrink and grids grow in size the paintings take on the look of religious icons and stained glass windows, memorials to their initial subject matter.
The paintings are ultimately about representation. Are the artist's altered images any less real than their source material, themselves composed, cropped and graded to conform to their own particular aesthetic?
Analogue to digital and back again as an image becomes a picture: a fourth or fifth generation original.
The medium really is the message.
The Enfield Venus is a homage to the original artefacts discovered on archaeological digs around the world. Each one of twelve is individually moulded from papier-mâché sourced from a magazine equally likely to be hidden away. Tucked under a mattress, secreted in a wardrobe or closeted deep within an attic.
A modern day icon of the male gaze transformed into a fertility symbol.