The starting points of current and recent work might be taken from art history sources, or from the natural world or the figure. The decisions made are rational, though most often mixed with intuition and an acceptance of the random.

Imprints, blotted paint daubs, leave a suggestion of a way forward. The tension between the random mark and a formal geometry, between accident and control are preoccupations. There are layers of what might be thought of as organic textured forms over or beneath a straight line or structure seen as artificial. A measure, a grid, together with a smear, a stain or a drag, half seen, half hidden, veiled.

The ever-increasing mergers between the organic and the artificial are a disquieting foretaste of a dehumanised future.