Broadly my work is abstract in its form and its outcomes. I am interested in the idea of being led in my making by the material, and by chance circumstances that arise in the process of making. Exploiting potential energies, like the tension of a rubber band or the inevitable drop of an arm under weight provides departure points for my work. I play with new processes as a means to both understand and expand them; leading me forward, creating tangents that evolve beyond their original motivation – shedding and absorbing material as the process unfolds.

The work I make has no singular direction. Instead I attempt to engage inductively with variables – playing, accumulating and allowing a process to activate, dictate or guide an outcome. The outcomes suggest new directions and potential futures continuing the notion that the simplest act upon an object or idea can have a resonating effect.

My practice is based around printmaking, specifically screen printing, but I am also interested in the relations between people and the act of making: specifically, the role of the artist, and how they go about bringing things into being. I have an intense interest in Philosophy and often this interest spills over into my work, guiding its direction. For a long time, I have been influenced by a lecture Brian Eno gave (originally directed at composers) in which he described how an artist should be a gardener planting seeds and seeing how things grow; tending to what grows and being responsive to what comes, letting themselves be affected by what emerges, even directed by it.

Eno suggests following this path rather than accepting the opposing, and in his opinion the dominant metaphor: the artist as architect. Someone with a complete overview and finished idea in mind, with only perfunctory actions left to realise the work. This gardener metaphor has stuck with me for a long time.