ARTISTS STATEMENT. At the moment my work revolves round a series of interplay's between textured surfaces and separations of that surface within the square format. The actual creation of the work is arrived at through a series of mathematical equations based around 181cm x 181cm of the pieces. Sometimes the end results of these leads the painted surface to bleed off the canvas and onto the wall and sometimes even the floor. This may result in the canvas being removed from the work altogether giving me more freedom to work directly with the architectural space (walls, floor, ceiling etc.). Indeed, I have already made a piece where I painted onto the walls and floor, a square split into five parts. This square was only visible from one certain angle, forcing the viewer to move through the space to identify the painted image. The work raises questions about the interplay between the surface texture, this separation of the planes and the architecture of the spaces in which the works are situated. The separations of the surfaces allow interesting juxtapositions and tensions to occur between the chromatic planes, be they on the wall or against something on the wall. I quite like the idea of the viewer being required to move through the space to see the work as a whole. Some of the works require the viewer to look at the work from an angle and not necessarily directly in front of the painting. This influence comes from visiting the National Gallery in Edinburgh. When viewing Classical Paintings a sheen of light prohibits the audience from viewing the painting as a whole, forcing them to move about to find the point where the light does not disturb their vision. Being interested in this movement through space, I have been influenced by certain architects, one being Bernard Tschumi. One quote from his book, The Manhattan Transcripts has especially affected my methodology and thinking; "The Transcripts are about a set of disjunction's among the use of form and social values. The non-coincidence between meaning and being, movement and space, man and object is the starting condition for the work. Yet the inevitable confrontation of these terms produce effects of far ranging consequences. Ultimately, the Transcripts try to offer a different reading of architecture in which space, movements and events are independent, yet stand in new relation to one another, so that the conventional components of architecture are broken down and re-built along different axes."

Plates always under construction
Plate 1	Plate 2	Plate 3	Plate 4
Plate 5	Plate 6	This page is constantly changing. Please note that some of the images have been digitally remastered because of poor light conditions within various exhibition centres.	The digital images are representations and not exact reproductions of the original colour of the images.