This on-going series of paintings explores extremes of pleasure and pain. Moments of agony and ecstasy. Private acts and desires, often concealed in case of judgement or reprisal. I use images depicting scenes of bondage and sado masochism freely available on the internet. These images are cropped and magnified to reveal their individual colour pixelation, which I then paint. In this way I detach them from their pornographic context, producing seemingly abstract compositions. Yet, the form of digital pixelation and resolution are now embedded in our understanding of images, so when observed, these paintings appear suggestive of an image concealed. The implication of a subject remains. When viewed through a camera phone, the resolution is changed revealing the paintings photographic form, restoring some of the original context. No longer are they grids of colour. This transformative process changes them into highly charged works. No longer can they be viewed without making that leap in your mind.

This phrase, first made popular by Edward Lorenz in the 1960s relates to the idea that a butterfly's wings could cause small changes in the atmosphere that may ultimately alter the path of a tornado. It describes changes to the initial conditions of interdependent, complex systems in Chaos Theory. Humans, economic & social structures, nervous systems and climate are all examples of such systems. My drawings explore this notion of interdependence. Each drawing is composed from hundreds of free-hand lines, drawn directly onto a painted canvas. Each line is influenced by the previous one and therefore has an effect on the next. Each line is unique with individual properties, but clearly cannot exist on its own. Drawings that start with a single straight or gently curving line, gradually evolve into wildly exaggeraed forms.

This series of inkjet print tessellations were made as a response to the idea that our emotions and thought processes follow patterns we repeat throughout our lives. As creatures of habit we seek a sense of order consciously and unconsciously. The words stem from thoughts and feelings that I can identify as recurring patterns within my life, but could have wider social implications. If looked at intently for a while the words and geometric structures appear to merge and change, shifting in and out of focus, like word associations that will blur and change depending on the viewer's life experience.

The thought behind this series was to establish a formula for an open ended body of work based on a simple criteria with a few variables. By employing these variables I could produce a series of works that had a repetitive feel, but with each work being distinctly unique. Over time this single idea could be potentially, endlessly explored. Whilst mosaics are historically a site specific medium, these were to be wall hung panels, like paintings. I wanted them to be regarded as objects and not a surface or covering. The material properties and processes of the medium give it authenticity and a language of its own that I am passionate about working with. The formula I decided would be concentric circles. As they increase, they would inevitably collide and merge. The variables being colour, size & shape of the panel, and how many circles to use as starting points for each work. The variables are the compositional elements of the work, the intuitive aspect. Intuition is always essential, giving yourself permission to act on the chance happening. I feel this is especially so with work that is so formulaic and process led, otherwise the work can become sterile. The notion of democracy within the work was also extremely important to me. Each of the many tens of thousands of cubes used, should be of no more importance within the composition than the next. They each have their own part to play in achieving the end result. Yet , individuality is inherent in each cube. Dimensional differences and surface variegations are properties of the cubes from the manufacturing process. This democracy also had to be extended to the title which had to be generic to somehow reflect the nature of the idea, with a numerical reference for each panel. 'Untitled' number so & so seemed impersonal, almost throwaway, so I settled on 'Vibrations' as a reference to the resonance that is felt by the colour relationships and the interplay of the physical dimensions of the cubes. I make the decisions on colour before the fabrication begins. That could be an almost random arbitrary choice or a considered choice but no preliminary sketches or studies are made to determine the order or frequency of the colours. Once the fabrication has begun the colours are chosen one circle at a time. No changes take place during the fabrication, one essential part of the criteria was to make the works without any idea of how they were going to finally look. Mosaic is a time consuming medium. Progress happens slowly. That does mean they feel like they grow, but there is the danger of endlessly editing while the work is in progress. I wanted these to grow in an organic way. By not editing colours or changing any of the compositional elements, allows for the chance that a panel may have some feeling or element of an anomaly or quirk to its character once complete. I accept this as part of the growing process of the work and a result of the initial criteria for the formula.