Underlying the works and exhibitions documented on this website is a broad commitment to questioning how images move between mediums and through the world, how they shape consciousness and the perception of time, and what it means to represent and be represented. Indivisible from this is a fascination with the embodied nature of human thought, the fundamental embeddedness of humanity in technology, and with the complex dialectical play between the visual and the verbal. Such seemingly abstract concerns are subtended by more human and personal ones: no less significant is finding a space in which to explore what it is to be visible, what it is to touch and to be touched, and for visibility or touch to be withheld.

The earliest works on this website date from 2007 and emerged from an interest in making paintings that, while emulating qualities of photographic prints and digital images, fundamentally undermined photographic reproduction. The resulting works played to the binocularity of human vision, appearing different in each eye; they radically altered appearance with any slight shift in lighting; they were flat surfaces that, like sculpture, presented different aspects as the viewer moved around them; they were reflective surfaces that, while alluding to glossy photographs or screens, collapsed the viewer and the gallery into the painting. They demanded time.Hard to see and certainly hard to pin down, rather than identity they were characterised by change; by unfixed appearance and a sense of permanent becoming.

Recent works broadly divide into two groups. There are representational works on metal that develop quite directly from the earlier works, presenting or witholding images depending on the light. Thoughts of touch and trauma and love and horror hover about them—which might not be saying anything more than that they can't avoid being touched by a fascination with what it is to be human, where we come from, and where we are heading. The other group develop from digital images made using a bellows camera containing, as the photographic plate, a modified digital scanner. Historical and digital processes are combined in order to reimagine the basic nature of a photograph: although no area is exposed for more than a fraction of a second, each work compresses into a single image periods of time ranging from a minute to somewhat over half an hour.

I studied at Chelsea and the Slade before completing a practice-led doctorate at the Ruskin School of Art, University of Oxford, where I currently teach. Exploring some of the interests that inform my work has led to holding research fellowships at Yale and Oxford and publishing a modest number of articles in scholarly journals such as October, The Art Bulletin, the Oxford Art Journal, British Art Studies, and the Sculpture Journal. These have addressed seemingly disparate themes, such as confluences between emerging understandings of electricity and early nineteenth-century landscape painting; the influence of photomechanical reproductive technologies on early twentieth-century sculpture; and puppets in early twenty-first century video art. At some point I should also bring to a close a couple of interrelated book projects that have occupied me for many years, one on disembodied hands and embodied thought, the other on John Constable and the boundaries of painting.