“When you look at a painting it’s about painting, but also many other things. Within painting you can change the speed of a brush mark or put one colour over another. It alters the meaning in every way, the narrative speed in which it’s understood. There are choices which are set up for the viewer: you can understand something one way or another. In Shattered Man you can see a head at the top of the painting, and there are feet and hands and genitalia. They’re all separate but belong to the same figure. The man has an insane grin, and he’s about to touch something sharp, like the way we’re drawn to prod a sharp piece of glass even though it’s likely to cut you. This painting feels a little dangerous and fragile; it’s like a shattered window which might be a reflection of a ‘self’. There’s a sense of self-consciousness in all of the figures I paint. They believe in themselves: it isn’t a head, just a series of patterns, yet it takes on the shape of a head, it has a self-belief. The images exist in a realm of self-motivated possibility.”

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