My current body of work deals with the concept of challenging what painting is, and how the viewer perceives it. I am trying to push the boundaries of what defines a painting and the exploration of ambiguity within the discipline of Fine Art. The work invites discussion about its nature, by its use of unconventional materials and techniques, which would not be generally associated with painting, such as cotton threads and embroidery.

Grids are used as a constant theme throughout the work, they disassociate the images from nature and natural forms, which eradicates outside reference to the image. The square format of the work is used in conjunction with this so that the viewer is not preoccupied with questions of landscape or portrait readings within the work.

Although the work strives for a clinical and precise quality, the very things that keep it fresh and interesting are the mistakes and imperfections that occur by accident. This creates a paradox in which a resolution is difficult to find. Because of this precision, and the process involved in the work, the paintings are very time consuming and awkward, which itself becomes an important issue in the work. More recently, it has become clear that due to its nature, the cotton thread used does not sit flat on the surface of the canvas. This creates shadows upon the work which, in turn, alters and enhances the image. This, although not necessarily important now, is beginning to become an issue that I find has potential for further development.

During the development of this body of paintings, colour has become less and less relevant and eradication of colour has allowed the minimalist aspects of the work to emerge.