Central to my practice is the creative process I employ. Much like a musical sample or patchwork fabric, I reuse and recycle previous works and canvas, cutting them up and casting them amongst new landscapes.

Instead of drop sheets, canvas lays across the studio floor, capturing the marks left behind: drips, drops, splatters, stencils, footprints, brush wipes. These spontaneous markings form part of a paradoxical process where they will eventually be selected, sliced, sampled and incorporated, into an as yet unrealised artwork. I refer to these as “contemporary leftovers”, a collection of disjointed stories, themes and ideas sewn together across time and space. The past is anticipated, the present is honoured and the future is recorded as a new masterpiece is created, wholly unrecognised from the sum of its parts.

Often I find myself more interested in these markings than the marks I try to make. They represent the things that happen when we’re not looking, the lines that lead us elsewhere, the possibility and promise of an unexpected journey.

his process is as much about building a personal iconography as it is putting together the pieces of a puzzle. Always reinventing and recapitulating the image, I focus on creation, construction and connection to join the dots between past work and new ideas. And so, the cycle continues.