In my work, pictorial structures such as cartouches and borders focus

attention on images within, whilst simultaneously implying their privacy,

invisibility or absence. Intuitive drawn scenes are catalysts for an accumulative

sensibility. Framing devices mingle with meditative visual notations of

diaristic thoughts, in structures suggestive of windows. Blazwick writes that

windows function to permit entrance of natural light and introduce the

horizon into the room's private space. She pinpoints that "[w]indows can

evoke a sense of longing and desire, or a metaphysical space of otherworldly

phenomena outside the routines of everyday human existence." Reflective

and critical of disposable culture, awash with quickly deleted selfies and

self-obsessive celebrity, my work breaks the rules of frame and picture

remaining separate to show images being precious and throwaway, pregnant

and hollow. Painting in an intuitive fluid way, but keeping to historical

display perspectives, especially medieval European illustration, and Chinese

landscape painting, whilst referencing Romanticism, allows pictorial space

for self-reflection and a public arena for viewing my thoughts. The paintings

explore the area between private and public, as a window broaches realms of

private space and contemplation, public ritual and visibility.