The process of production incorporates liquifying photographs and the multiple accumulation of layers of impasto paint into reliefs, then creating objects through slip trailing into relief moulds. Painting becomes spatialised, photography becomes painterly, and sculptural ceramics rendered liquefied.

In The Picture of Dorian Gray, time and the painting move: my paintings attempt to recognise and embody this state of flux. The work concerns states of the ‘in-between’: molten and solid, stillness and movement, representation and abstraction, the permanent and momentary. Originating from a starting point of ‘pure painting’, the work currently employs different processes of transcription to reach a place where the work masquerades as paintings using ceramics or other media.