Drawing forms a fundamental part of my creative practice; the surface on which I choose to work becomes a depository for thought, observation, speculation, action and intuition. Drawing as an activity within my practice becomes a structure around which I can realise my own creative intention. I may start work with a specific end in mind or just as easily move intuitively from one action to another letting the marks that remain as a trace of my movements dictate the way in which I treat and explore the work’s exterior referent. Recently my work’s preoccupation has been with drawing as process, focusing on the culmination of traces of movements carried out in time. This has led me to explore the impulse engendered in the viewer to imaginatively engage with the process of drawing, inspiring the viewer to approach the drawing’s referent with a similar empathy and tactile exploration with which a drawing must be created.

My drawings are always figurative, my work often forming as a product of a basic need to make notation of a moment, or series of moments, where hand follows eye, tracing the image that for humans has the greatest capacity for expression, and in turn inspires the greatest sensitivity of interpretation, this of course, is the human face.