My enduring appetite for knowledge forges a direct link to seventeenth century Enlightenment in my quest to imagine what it was like to discover something for the first time and first hand. In this I envy those early collectors who formed the genesis of our museums, and now beckon me to explore how wider social awareness or concerns influenced (or funded) their stockpiles of our collective cultural heritage.

As a perfectionist, I notice imperfection. I love the patina of age, the wear and tear that shows an object has lived a life, the aftermath of destructive insects... destructive people. The materials and techniques I use are determined by concept, and have initiated work in a diverse range of both. My paternal forefathers all worked with their hands. Making stuff is in my blood; whether I am painting dead men’s words on hoods, carving stone or weaving a wedding cake out of hair.

That is what I inherited.

I have combined words and images all my life, as an art director, scriptwriter and an artist. The historical narratives I produce are presented with conviction and consideration, and rooted in considerable research. In doing so I aim to lift the thin veil between past and present, traditional and contemporary to produce new or unexpected perceptions, to encourage viewers to see, what could be fleetingly familiar, in thought-provoking and questioning ways.

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