Captivated by the mess of my artistic process, my practice currently acts as a deconstruction of itself; a contradiction to what it aims to achieve.

I find the medium of painting intriguing. It acts as an illusion; a dimensional white lie.

For a long time I was bogged down with the literalistic theory surrounding minimalist and modernist painting of the 60’s. 
I have concluded that through the apparent theoretical ‘death’ of painting, the medium has been completely revived. No longer does a painting act singularly as an illusion towards its intended representation, but it further acts as a reference to itself, its objecthood and its material indexicality. Every component within a painting is now considered and regarded.

I have found myself seeking clarity to my artwork through classifications and definitions. 

I have perused this clarity through the visual and theoretical deconstruction and dissection of my own artwork.
I believe that only through the complete un-building of my practice can I fully understand my work’s intentions, limitations and strengths.
Only through the analysis and breakdown of my work do I feel I can find self-justification for the artwork I produce, and therefore can find validation and understanding in my medium of choice.

Through my visual and theoretical deconstruction I aim to break down the representational norms within a painting. This allows for the personification of the visual and physical limitations of a painting, therefore allowing my paintings to be appreciated not only for their chosen depictions, but also for their objecthood and materiality.

In essence I am trying to de-construct the medium which I have always used to portray the world in order to provide justification to my portrayal.

I aim for the viewer to dissect and ponder how and why my painting is painted just as much as what the painting is about.
Through the utilization of heavy-handed and overly forced imagery I try to de-construct the painting with a satirical banality.
I feel that my paintings aim is to ride the thin line between these heavy and subjective theoretical conversations through their comedic and caustic ironies. 

Through the use of heavy handed motifs, ill-fitting proportion and angle, and a combination of mismatched and unconventional painting techniques I create a caricature of what a painting is.  
My artworks themes revolve heavily around the self,  utilising representation in a ham fisted manner to create narratives about the subject of my painting. The ham fisted representation used in my paintings also allows the artworks to speak about representation within a painting itself; specifically how a collection of objects organised in a specific way can provide certain connotations or meanings.

In this respect I am creating paintings of paintings.