My current tableu is inspired by the Process Movement of the 1960’s, when works were created through a combination of improvisation, random occurrence, natural processes, such as evaporation, oxidation, and corrosion, and through the use of non-traditional materials such as wax, felt, latex, rust, and earth.

My sculptures are small in scale, and typically combine scrap metal, found objects, pigment, tar, rust, wood, and epoxy resin in some cases, although each articulation invites a new material.  My paintings vary in size and dimension, however at the moment I am working on pieces no larger than 60 x 80cm, on both linen and wood. The paintings are highly layered, playing with the drying times of each layer to create cracking and distortion, to distress surfaces by the application of subsequent ones. The Quarry paintings, Rapidograph works, and Rust series are all expressions of this aim to achieve something broken, by pushing the mediums past their natural limits until they become something else. The imagery is based in landscape, however a somewhat abstracted interpretation.

Generally speaking my concepts have a base in political and religious topics, such as postcolonialism in respect to the role of Western powers in developing nations, and the hypocrisy, corruption, humanitarian violation, and disguised imperialism that is entwined within these relationships. However these ideas are not depicted literally, but are meant to hint to this rupture in a more sentient fashion. The Tar pieces, for instance, came out of readings about modern-day witch hunts in Papua New Guinea and African nations. The dark surface emulates burnt skin, and the material literally refers to “Tar and Feathering” which was a torture method in colonial New England. The Quarry series themselves are taken from images of open pit mines internationally, touching upon the exploitation of natural resources by multi-national corporations, wide-sweeping and often unfettered industrialization and mass-production. Antoni Tàpies wrote, “They tell us it is PROGRESS, but they capitalize it with the P for paternalism, private property, pariahs, pigs, parables, punches, pats on the back, plus-value, poverty, propaganda, punts, pistols, powder kegs, penal colonies.” This, he wrote in the late 60’s, but it is still true today, and perhaps a summation of what I strive to confront in my artwork.

Click link below for a pdf portfolio of my works.