The paintings are of found objects, which are still in situ out in the world after all useful life has been extracted from them.  Their existence, meaning, fascination and purpose, often created by advertising, has been removed.  The objects were the carriers of pleasure and worth but are now just regarded as rubbish.  The paintings reflect what remains when there is nothing left. I see them as metaphors for the human experience, where people are used, consumed and discarded by others.

These paintings are heavily influenced by the photographic/cinematic image where twenty-four frames per second flash past our eyes. We consume thousands of images on social media, television and film everyday.  My attempt is to step back from this bombardment of images, to give myself and the viewer the opportunity of actually appreciating what we are seeing.  I feel that the detail in my work helps the viewer to do this due to the creativity and work involved in its creation.

Having seen so many similar images in films, television and adverts, where a close up shot of an object is used to tell a story, sell a product or used as a devise for embellishing a narrative, I have used the exact wide screen cinematic proportions for the paintings of 2.39:1 to hopefully invite the viewer to create their own narrative around the works.  As they look like film stills, it offers the idea of something happening before and after, the objects being used as props, being there for a reason and are not just rubbish that somebody has used and discarded.

I would like the paintings to be viewed as one frame in a sequence of twenty-four per second. The fleeting frame frozen so the viewer can consider the process of construction, the surface, the tones, the details, overall composition, idea and intention. This can only be achieved with paint where the viewer can look at the painted picture on another level and plane other than a transient photographic one.