Together with painting on canvas there remains a large variety of shifting, stylistic strategies that can underwrite and scaffold any critical engagement with concreptual ideas.

For instance, practically it is possible to produce painting that finds it's starting point with everyday objects and material that are modified through paint.Ordinary materials such as fabrics, utensils, glass , can be condensed into dynamic objects and installations that push the limits of perception.

Items found or made which reflect our culture in simple ways can be changed, their context altered and mutated.Painterly interventions, while experimental in parts can be implemented decisively, with certitude, changing levels of meaning without arbitrariness.

In essence the work attempts to create evocative methods of picture making.It would propose that through multifarious means it is possible to take painting to unusual and metaphoric places, away from the canvas and stretcher.Encouraging playful spatial interventions, that challenge the audiences' perceptual and intellectual capacities.

That painting can have an improvisional, performative level playing, engagingly with spatial sensebilities, creating a rich ground for artistic experimentation.

The process of mutation, the transformation of the object are specifics that the work examines, describing how through many means, including paint, the context can be changed and enhanced through improvisation and experimentation.

For example one strategy is to develop notions of mutation further, creating poignant metaphors related to cultural change- through choosing objects that have a specific cultural meaning and subsequently changing them thoroughly, as if pulling them inside out.

Studied initially at Glasgow School of Art, contnuing  to complete an M.F.A from The School of The Art Institute of Chicago.Have been exhibiting regularly across Europe and the United States, and currently teach periodically at The Bergen Art Academy.

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