In my painted work I adopt symbolic portrayals of the heavenly realm and classical mythology, which the Renaissance formalised into imagery that represents deep and transformative myths. These symbols have retained their hypnotic power beyond modernism, although the significance of paintings and relics has changed in the transition from cult to exhibition value discussed by Walter Benjamin. 

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The Numinous series that I’ve been working on since 2011 evolved as I researched the hauntology phenomenon, particularly as discussed by Mark Fisher and Simon Reynolds. 

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This work alludes to art practices of the past, but a stronger temporal disjunction links to the way paintings were exhibited, canonised and exchanged throughout the 20th Century. Influenced by Robert Hugues’ discussions on how art objects became commodities to be possessed rather than exhibited, I aim to embody a sense of fiction, mystery and history in my work; using painting as a way to harness spiritual imagery. The compositions are realised through an unlocking of creative flow reframed as a transformative religious experience; so although materialist interpretations of my work are welcome, some recognise a deep link to the neurological reality composed by the human consciousness linking art to magic. 

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Each Numinous painting is made specifically to fit a lost or discarded frame. I have been collecting these for many years and each piece is rendered in acrylic on plywood cut specifically to fill these carefully designated borders. The frames are therefore of equal significance to the rest of the artwork. Sometimes they appear incongruous and other times there’s a more recognisable relationship, but they always intensify the dynamic arrangement of colour and imagery while acting as a containing structure.