My painting draws from the tradition of English and northern European landscape painting, combining an interest in the iconography of the everyday and the Romantic with a concern for the materiality of paint and the passing of time. I don’t believe in representation enough to hide paint behind it. Nor is my love of paint such that it feels sufficient to push it around unhindered by the desire to fashion it into a form of image. The processes of involuntary memory act as a starting point for a prolonged game of assertion and negation. Images come, go and transform, layers of paint obscuring and revealing what has been in an attempt to arrive at a position between object and image. Recently I have been working on blocks of hardwood. The texture, grain and edges of the painted support reaffirms the object of painting. However seductive the representation, the painting is never wholly elsewhere.