A puzzling sense of space and strange shifting landscape is a fundamental element within my work. The high perspective and organic forms where developed from my observations and memories of the steep rocky hills and deep valleys surrounding the Iron Age hill fort and fruit farm where I grew up in Kent. Although the relationship to nature is a very important part of my work, the drawings and paintings are not reflections upon an idyll, but rather explore the tensions of a familiar landscape bisected by human interventions; a motorway, burnt and oily fields, or agricultural structures that, nevertheless, retain something like quiet reflection and tender memory. The drawings shift through different times of day: early morning, deep night, or hot afternoon. They involve both the private internal landscapes of my imagination and the collectively understood landscapes of certain paintings. I pay close attention to the compositional, colour and narrative techniques of early Renaissance painters such as Piero della Francesca and Giovanni Bellini and am fascinated by the colour and visual methods of Indian miniatures painting. The line between narrative and non-narrative also dips into my work. The paintings may resemble scenes from mythical, biblical or Indian Miniature painting, in which the figures have got up and walked out, leaving behind a strange stylised landscape, the scene of their narratives.

Figures in my work come intermittently in the form of singular bodies, echoing the atmosphere of the landscape, or sleeping quietly though a dream of colour and form. They continue to tread the line between narrative and non-narrative, verging on the sculptural, giving no more away than the mute trees and spaces they temporarily inhabit.