Medium:

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I have used a variety of mediums and processes on my canvases (ranging from ink to liquid latex rubber), yet the methodology has remained consistent. Although there may not always be material similarities between each canvas, they are all related through recurring formal concerns and through a distinctive subject matter. For me, the subject matter has determined the materials and forms that I have implemented upon each canvas and has always been suitably appropriate. I have created every single painting using a pipette, which I use to freely drip and squirt my chosen medium around the canvas in an overtly subconscious manner, akin to Zen artistry. Indeed, the use of the pipette is highly beneficial and suited to the way I work; it allows me to make an array of technical and free-flowing marks whilst still maintaining virtually full control of the painting.

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In the majority of my paintings I have applied only black ink - this is not due to ignorance of colour on my part, rather a personal judgement that colour is unnecessary for the mood and message that I am trying to convey. The black upon white generates a raw simplicity that best communicates my view of the city; the black segments of the city become a metaphorical jigsaw, with the white implicated roads supplying a tool to either read separately, or as a whole, each block of the canvas. Through experimentation, I have concluded that colour can habitually detract from the raw qualities of the city, rendering it a distraction from the captivating marks and underlying essence of the urban landscape.