My work has changed significantly during the past six years. Originally, I was making paintings from life and from photographs, but I became disinterested in the notion of using painting as merely a method of reproduction.
I am currently experimenting with the concept of producing new paintings and drawings using computers to make an initial image, which is further refined through the processes of drawing and painting to culminate in something that is both idiosyncratic and referential: Exclusively, a product of its time and yet referring to art history in its content and structure.
I use painting as a tool to realize possibilities which do not exist. As a result, I think the work negotiates an alternative response to the notions of observation and artifice. The realization of fictional and mythical subjects is central to my practice and theory: recent work has taken remnants of classical civilization such as the ruined city of Pompeii, as a starting point to create melodramatic and anachronistically populated spaces. I am interested in the Victorian era and the concept of Lost Knowledge.