This split, from silence to language, is enacted by my undertaking a PhD three years ago.
How can I say my relation with painting, what, precisely, happens in the act of making , where am I in all this activity and what have I done, with paint?
In my studio I know that the consequences of my life bear upon both myself and the work in such a way as to affect my belief in some very basic assumptions; that painting can be either abstract or representational, that there occurs an event such as ‘death of the author’, and that although I might agree that ‘seeing is not saying’, there is, nevertheless, an important relation between them. In my painting I am looking for a particular relation to history, an atavistic ‘humming’ that sounds the presence of a subject who paints and who acknowledges that the life to which she corresponds is like a wind that carries the scent of distant places and continues to affect changes in everything that comes to pass her by. It is no more surprising or important, than knowing how to boil an egg, but infinitely more difficult a proposition to assert for painting. It is a challenge and a joy.
Education
BA(Hons) Goldsmiths CollegeTutors: Michael Craig-Martin, Lisa Milroy, Yve Lomax,Peter Doig, Adrian Searle
MA Painting Royal College Art
Tutors: Vanessa Jackson, Peter Doig, John Stezaker
PhD ( current) Royal College Art
Tutors: Jim Mooney, Vanessa Jackson, Avis Newman , Jonathon Miles
Selected Exhibitions
Swerve Conductors hallway, Camberwell, London
Logics of becoming Gallerie Claudia Gross Selbeck. Dussledorf, Germany
New Painting James McDonald Gallery, Princelot St, London
Wonderlust. Artisteye, Ladbroke Grove, London
Here I Am Broadbent Gallery, Westbourne Grove.London
Take three, Kapil Jariwala Gallery, Cork st, London
Young Contemporaries, Beaux Arts Cork St, London
Slap and Tickle Vertigo Gallery, London
Awards & Publications
Mark Rothko Painting Award USA 199
Parkinson Henderson Award
Hugh Dunn Award for Painters and Stainers

