The heart of my practice is influenced by the ephemeral quality of associative memories, duration and felt sensations. Inquiring into how they are driven by external pressures and factors. My work crosses mediums of painting and sculpture, collected objects and installation and could be described as reactive, enigmatic and serialised.
My work uses colour to draw out associations and possibilities of modes through which qualities of material and installation interact with the viewer. I prepare pigment into glazes and transparencies then layer them 'colorito'; contingent on reactive processes and duration for development. Image motifs emerge and fuse into glossy, reflective surfaces that mirror the surrounding space and light.
For the last few years, I have been sourcing digital media images as a material to work with, drawn to their ephemeral qualities. Searching in places such as social media groups, 'viral' stories or public image boards. Taking on the role of collector, a restrained range of images are archived to preserve and re-process. I develop images into motifs codified into work and image titles where they end up (re)presented across different works and remerge in other presentations.
I’m influenced by subjects such as the many-faced avatars populating MUDS (Multi-User Dungeons), the multivalent cultural uses of the watermelon, the mutable self, or free jazz music. I’m interested in how the public trusts that the internet will archive cultural memory. I’m drawn to and expand on the post-minimal frameworks of ‘truth, seriality, harmony, awareness of space and viewer’. 
In an accelerated world, I consider the speed and pacing of how my images are encountered. Bound by the belief that slowing down can factor in reflection. Just like the speed of events as they appear in today's world, will have already disappeared before any reflective critical discourse can take place.