Fascinated by spectacle and cinema, I often end up presenting a combination of the two throughout various subjects.
My studio practice fulfils my need to record thoughts or memories, largely due to my difficulties with processing and ordering information.
This dyspraxia is undoubtedly a cause of confusion within my portfolio of work, which might only begin to make sense the more you look for answers.
The source material for my paintings is typically forced together into collages, these images are pasted together in a drawing program and then drawn back into with a digital stylus. Once the final image is completed I'll project it onto card to draw the base stencil, I then have something to work with and will continue drawing over the tracing with black and white ink. Finally, once I complete editing the stencil with the ink I'll begin cutting using a scalpel knife, the editing continues with the knife until the stencil is cut. That proccess has been standard for me until recently, now I have started to draw freehand from the images I find before going into the same stenciling process.
Colours for the paintings are usually limited, which is defined by the brand of spray paint used. However, I also use light-fast acrylics and high-pigment acrylic inks which means there is going to be some mixing.
Another situation in my paintings is expression of daydreaming and commenting on social/cinema norms, for example; that it's ok to celebrate violence as long as it's done via entertainment.
Films that I have made are usually a combination between "Spectacle" and the "Human Condition", where repetition of sound and image is vitally important.
There is something special with repetition, it is undoubledly meditative, even borders spiritual.
When you see repetition, or experience moments as if you have experienced them before, there is suddenly a strange and very unnerving situation. Then you need to ask yourself, do you run from it in fear, or hold onto the moment and study it in a kind of sadistic pleasure.
Painting is the driving force in my practise, given the space I would happily only ever make installations with film and video. Having got that our in the open I realise that actually, I'm happy doing it all, my paintings are just as important as my films and I couldn't ever make one without the other.