My work is a visual diary projecting intimate parcels of self-reflection into details of current social concern. Using paint and film to illuminate what is important to me, I work perceptively to construct surreal worlds as intuitive responses to our world’s personality. Through manipulations of structure and reminiscent details my work explores forms of interpretation, observing what resonates as the ‘familiar’ within people, and then subtly introducing obscured inconsistencies turning the everyday into the unexpected.

Both my mediums of paint and film influence each other equally. Experimental film is a major influence on my painting work, each premeditated brushstroke on canvas relaying its own particular message through ambiguous symbolism, just as I would construct the mise en scène for filmic sequence.

Before I begin working on a painting or film piece, I gradually collect snippets of thought and handwritten beginnings of ideas, piecing them together into a physical structure. I like not knowing the destination before starting and allowing the work to progress naturally, imagining that if I had started it at a different point in time the final piece would turn out differently.

Historically, I have been influenced by performance artists of the 70s such as Valie Export, Vito Acconci, Chantal Akermann and Maya Deren. Protagonists of extraordinary cinema Andrei Tarkovsky, Bela Tarr and Michelangelo Antonioni have provided significant inspiration for my film work, whereas painters such as Mircea Suciu, Ruprecht Von Kaufamnn, Edward Hopper and Adrien Ghenie have influenced my painting practice.