About

I use process to create form through repetition, unpicking and sewing to disrupt and abstract the recognisable, the illusionary window on the world, while drawing attention to the surface on which this representation sits. The scale on which I work is intimate, allowing the viewer to switch between the detail and holistic object. I work in series, developing several pieces in different stages of completion at the same time in order to explore a common theme.

"As much as they imitate marble they dramatise their status as independent form. Which is to say that three degrees or levels of representation are in play, not just two: the surface of the actual wall, made of plaster; polychrome marble, the substance whose simulation is both approached and renounced; and painting itself, the tracing of lines and the filling in of colour patches that have their own autonomy, in a median space between the poles of original and copy."

Norman Bryson, Looking at the Overlooked, Xenia, on the First Style of Pompeian frescoes.