My current practice consists of photographing my own still life compositions and using Photoshop to slice, collage and rebuild the image in new arrangements. I then translate these digital sketches in to oil paint. My intention is to create works that re-negotiate the tradition of still life painting and embrace the art historical but somehow evade its confines. I intend for the work to escape into a surreal and sometimes disorienting other space, where different languages and spatial relationships operate uncannily upon the surface. The objects I employ such as the platonic shapes, cups and the skull, are familiar and finite. The objects are placed in a context where the reality of the image, as well as the paint itself, is always being bought into question.
In the midst of the process of making, the paintings gain their own internal logic. Realist and photographic elements compete with each other, parts of the images seem to have been swapped out or removed, revealing under layers of paint and the pencil-drawn architecture of the image. Highly rendered details are juxtaposed by hard-edged graphic elements thus creating an eerie interplay between flatness and three-dimensional space. The intention here is not merely to bring the viewer back to the surface, but to create a tiered perspective, a nether-space that exploits the illusionistic qualities of the medium.