1 What is/are the primary reason(s) for you to make work in the first place?
The primary reason of me making my work is to channel ideas through the medium of paint that link with concepts of sexuality, death and freedom.

2 What do you intend your work to convey to an audience?

The intention of my work is to convey to the audience a series of unrelated questions in both their artistic and personal judgements of painting and art in general. Calling into question their own moral and ethical concerns into practise.

3 Why do you work in your chosen medium and format?
My chosen medium of painting and that of oil painting resonates for me in both its historical and social contexts. The fact of a medium being so ingrained into all our art historical cannon opens up questions of its validity now and the possibilities and non- possibilities of its oeuvre.

4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
Construction of work comes from initially sourcing imagery that may in some way link to an idea or feeling purported around a certain subject matter, e.g. the boredom or fascination with the sexual and deviant. I then try to open this chosen image to a larger evaluation and dilemma, wherein something can grow from the work into a far greater experience and prospect.

5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
Artist’s influence on my work can range from both the work and ideas surrounding them. From the abject boredom of Keith Vaughn’s Diary accounts to the visceral power and skill of Carravagio to the angst ridden line and outlook of Van Gogh and the tight leather of a stuffed in Francis Bacon. Contemporary fiction such as Houllebecq and the director Michael Haneke and the pornography of Robb Stone, and Johnny Rebel all manifest themselves in a potrayal and horror of the mind and body.

6 What stimulates/informs your work from the world around you?
Stimulation for the practise arrives around need to produce and generates solely on this ground. What informs me is the lack of the present, the now that surround people.

7 What stimulates/informs your work from your own personal experience?
Personal experience comes in varying degreees in conjuncture from the initial forays into the ugliness and beauty of life, and how in some way we can understand and work with this constant dilemma.

8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
Outside source material if from D.V.D, magazines and the internet, which coincides with inside research from willing adults or creating the desired image myself.

9 What are the main problems that you face in making your work?
Research problems lay in the proliferation of images the same king of ‘images’ being used and re-used, that I try to avoid. I am always trying to escape the image and place it within an idea.

10 Where do you intend to take your work from here?
My work will focus not just on the use of images as such but will delve deeper in a quest to source and drive for something probably unatable from both the painting and the practise, I want to create a world.