This is a review of my development over the years: presented as slide shows, I have selected some of my earliest works to show something of my roots; another shows some highlights of my more obviously "surreal" dream/nightmare works, an ongoing thread in my oeuvre. I have also presented examples from various series, periods and groups of works that have marked certain points in my career; I often revisit earlier themes or bodies of work when I am struck by new ideas, so it is sometimes hard to pin my work down to a specific "period" in my development.
A selection of my earliest professional works, carrying a strong flavour of my original surrealist inspirations and influences - Magritte, Dali, Ernst et al.
This is a series of personal works which gave expression to my feelings of depression, anxiety and frustration at the time.
Out to pasture
In 2002 I discovered this image of a cow mooing in a French magazine - it inspired a series of playful works, in which I explored the power of the background to alter the character or mood of the subject (the cow).
In 1998 I spent four months in residence at the Cite Internationale des Arts in Paris. At the time I was exploring the ancient Mother Goddess mythologies, and was much influenced by the work of Ana Mendieta. In Paris I discovered the witty and acerbic stencil graffiti of Miss-Tic, which I quoted/incorporated in my paintings of this time (I credited her by including her tag).
Dreaming in a different key
A stylistic thread that has run through my work since I first became an artist, an exploration of the psyche and the place of dreams and nightmares.
The secret garden
I captured the moods of what was my mother's huge garden in the late 1990's. It is now a parking lot.
Like the series of cows, in 2002 I also began experimenting with this series featuring the same dramatically lit meditating/contemplating figure. Here my aim was less playful and more concerned with exploring deeper emotions using this figure as a gateway. This particular figure appealed to me because of its androgynous nature, allowing for a more universally meaningful interpretation not contextualised by gender (the model's or the artist's).