he centre of my painting practice is semiotics, and exploring paintings relationship to images. They begin with the premise that paint wants to point away from itself, but any reference is always bound up with the materiality and conventions of painting. As such, the paintings become a scattered constellation of references to things, process, and medium. I use the mediums tropes, conventions and pictorial devices as a vocabulary, the illusion of 3d depth on a 2d surface, perspective, trompe l’eoil, and the properties of pigments. In doing so the process of painting is staged, as a form of meta-painting, so the painted images themselves can be the subject of exploration. They particularly focus on the convention of representing things, and echo this in creating forms that play with imitation, illusion and semiotic references, pointing in many directions, but never coalescing into a definable set of nouns. The paintings look to create a dialogue with the way that we read, and deduce meaning from, an image external to painting. I’m interested in images that have an efficiency or economy in the way they convey a particular meaning, like a several millimetre wide app icon, road-sign or a cartoon character drawn only from several lines. I’m interested in tapping into that efficiency to utilise it, break it down, reveal and corrupt it.