My practice centres on the effect of violence and death on the human figure. I look to vintage crime scene photography from the early 20th century to form my compositions, as the methods used in order to capture them give the images a naturally cinematic feel, reminiscent of a film noir style, which translates into large scale artworks. I interlace the visceral, violent aspects of these images with bright, garish colour to appropriate the figures from their original contexts and force an audience to confront an image of a corpse from a more a three-dimensional, tangible perspective. This shape is emphasised by the use of black and white to portray the bodies in a realistic way. I’ve been interested in this relationship between the slow, long process of painting the figure and how this is put at risk by the fast, uncontrolled brush mark that is completed with little consideration to the effect it will have on this figure it is interacting with. I’ve also noticed the underlying comparison that can be drawn between these processes and the lengthy process of life versus the quick, violent death shown in the images I am reproducing in my paintings