The passion for creating paintings continues to be fuelled by my appreciation of the physical material of paint and the endless possibilities I see it as having. An interest and concern about the technological environment around us and the effects it has on our day to day lives, formulates the underlying interest for the work. The effect of that environment on the practice of painting, owing to the reproduced image has become the main subject of the work.
The everyday commonplace of the reproduced image in our contemporary society presents a problem is painting. It is deprived of its original role and paint is unable to represent anything but itself. It can only exist as a continuation of the medium and must do this by investigating and questioning the factors that have put painting into situation that it is in.
The paintings develop from photographs and reproduced images that I have acquired or produced myself. They display impurities and failings of the reproduced image and bring into question elements of it as a superior medium of representing the real. In their original form, or as manipulated versions, they act as models and translate into the work as a conflicting juxtaposition between paint and the reproduced image. Denoting an investigation of paintings dilemma.
The resulting paintings integrate qualities of both the reproduced image and the raw material of paint. Application and deletions of paint are an attempt to celebrate the medium and draw attention to its situation. Paint is applied using an expressive application that involves an element of controlled chance. It is poured and controlled to a degree, but its mixing and meandering as it flows across the surface is as much the result of its own volume and consistency. Set against the illusion of photographic surface the paint denies the reproduced image of superiority. Characteristics of the production of the reproduced image are addressed using expressive paint application. Deletion of paint is intended to imply the loss of paintings original intention. Photographic surface beneath reveals as instigator.
Deletion and application in the work results in simultaneous concealment and exposure of each medium. One medium negates the other and visa-versa. A constant alternation between paint and reproduced image is encouraged. Cancelling one element with another creates a new separated quality that is a result of the previous action. Similar to how something in time continually becomes changed and advanced by integration with elements surrounding it. The paintings exist as combination of both mediums and are neither one nor the other. They are only a continuation.
1995-1998 Staffordshire University, Stoke-on-Trent, BA (Hons) Fine Art, 1-st Class.
1990-1991 Bilston College, Bilston, A-level in Art, O-level in Art, Graphics and Design Technology
1981-1986 The Parkfield School, Wolverhampton
15.09.2000-15.01.2001 Chorlton Mill Gallery, Manchester. Joint exhibition with four other artists. Organised by Comme ca pr.
05.-09.2000 Royal Birmingham Society of Artists. (RBSA) Prize Exhibition.
03.-05.2000 MIDart Annual Open Art & Sculpture Exhibition. Himley Hall.
09.-12.1999 "Carl Greenaway, Almost Painting", Solo exhibition organised by "comme ca pr" at the Arts Bar & Grill, Jarvis Piccadilly Hotel, Piccadilly Plaza, Manchester
06.1998 "Exit" Final Degree Show Exhibition. Staffordshire University.
07.1996 "Debris" Group Exhibition at Liverpool's Albert Dock.