I am a visual artist, but beyond that sometimes find it quite difficult to describe my work as it is very varied, and in it’s nature mixed-media, multi-disciplined and questioning boundaries. I am interested in the gaps and dialogues between disciplines much more than a more rigid approach adhering to one.  Often though the resultant work is quite time or labour intensive and sometimes near to the craft end of the fine art spectrum. However, conceptual weight is important to me – in valuing my own product. I need to feel that it has evolved out of an intellectually innovative and rigorous process that stretches me – mentally, emotionally and physically.

I have an ongoing interest in current critical theory – this often translates in my work as recurring explorations of rhythm, pattern, repetition and anomaly. I am interested in the decay of the certainties of modernism with its safe linear philosophies and the opportunities and problems of the proliferation of post modernity and post that. In this context it’s the human condition and the experience of being human that draws me. I have a consistent concern with using discarded, invaluable and/or everyday materials particularly paper as a critique of some of the hierarchies traditionally entrenched within society, and art in particular. Though not outwardly ‘religious’, the process of my work is underpinned with my belief in the Creator God and in the importance of creativity as part of my spiritual experience. As such engage is an important word for me – in expressing my views on the world around me and the world within me.

Past work has engaged with the concepts of exile, dislocation and disconnection. I spent a couple of years 2005-6 exploring and theorising around the idea of ‘internal exile’, which was a phrase I coined as an attempt to highlight some of the shortfalls in a context of post-modern and globalised interactions. For the last 2 years I have worked on a series of ‘paper lace’ pieces made by pricking holes in paper with needles. More recently, this has developed into 3D interventions in wood.