My current work accesses 18th and 19th century ideas about landscape painting, and
splices them together with my own experience of real places, modernist ideas about painting as object
and process, and references – sometimes through text - to utilitarian aspects of the current
landscape. For example, a man-made presence absent in the painting may be suggested through the
inclusion of a delicately painted word – 'pylon', 'reservoir' or 'underpass'. This is intended to
call to mind the labelling of plants and the natural world in 19th century botanical illustrations,
and to create a dialogue between the painted image, the surface, the text and the viewer."
