Artist statement

The artworks that I make constitute an ongoing exploration of image-making technologies as experienced in everyday life, using painting, drawing and occasionally other media. The starting point for artworks might include, for instance, pixillation, motion blur, the downward gaze of the surveillance camera or the fixed viewpoint implicit in a panorama. Much of my work has examined the relationship between technologies of representation and the natural world. My current focus is on the screen-surface of computers and mobile phones, an unnoticed yet pervasive component in the experience of viewing digital visual information - here, I am especially interested in fingerprints, reflections, cracked and chipped glass. Conceptually my practice operates in the space between the mechanically produced image and manual delineation, informed in part by photorealist theory. Lately, the material and technical aspects of making a drawing or a painting have become increasingly salient in my work, manifested as time orientated towards learning and experimenting in the studio, and reflected in the way I approach ideas.


I grew up in Crai, South Wales and studied art at Swansea. After completing a BA in 2008, I briefly worked as a painting studio assistant in Devon, before returning to Swansea where I currently live. Recent exhibitions include, Sight Light and Survey, The National Botanic Garden of Wales, Llanarthne (2015); We’re From Further South Than You, Undegun, Wrexham (2018); and, most recently Ruskin: The Power of Seeing, Two Temple Place, London (2019). My artwork was awarded the inaugural Beep Painting Prize in 2012 and was shortlisted for the Jerwood Drawing Prize (2014).