Junky presents a heavily textured surface in which layers of paint and material are built up, eroded, and fragmented, producing a visual language of decay. The accumulation and corrosion of matter suggest processes of deterioration, evoking the disintegration of both body and psyche under the weight of addiction. Despite the overwhelming density and rupture, faint compositional structures remain discernible, gesturing toward memory and the persistence of identity. The painting operates as a metaphor for addiction as a state of simultaneous construction and collapse, where the act of layering mirrors cycles of use and erosion. Through this interplay, Junky frames survival as a tenuous but enduring presence, embedded within the very fabric of ruin.

Growing up tethered to an analog source of television transmission and everything which that entails, the broadcast signal from the The Black Hill transmitter mast, being interrupted by a technical fault, felt, even as a child, like an existential natural disaster. Creating an absence and sense of helplessness. Media at that time being a much more limited experience in comparison to todays visual landscape. The work isn’t a literal depiction of this experience, but captures the experience of lost signals and the emergence of abscence. Weathered textures and fading forms, evoking a landscape barren of information, of entertainment, of interference, broken data and the absence of consumable data.

Faded pastel colours provide a dynamic substrate within which motifs suggesting corrupted information are suspended. The Shaming of the True plays on the title of the Shakespeare drama, The Taming of the Shrew, a reaction to the web driven global trend for the manipulation of information to suit a particular agenda. The work is an expressesion of personal tension: a generational perspective caught between established knowledge, scientific fact and shifting cultural discourse. It is a visual emotional self-portrait, a reflection on navigating an ever changing landscape of uncertainty, belief, and belonging and sublimation of groups of thought into generational clichés.

Three distinct zones or landscapes stand apart yet remain bound by repeating motifs or markers of meaning, memory, or data. Though their purpose is deliberatley ambiguous, they create the visual structure of the potential of connectedness. The spaces between zones are vital, the gulf inherent to seperation and disconnection while simultaneously establishing the hidden continuity which only reveals itself in division. The work reflects fractured systems of knowledge, memory and human relationships and suggests that even divided, parts can remain entangled, unified in separation.

Three distinct zones or landscapes stand apart yet remain bound by repeating motifs or markers of meaning, memory, or data. Though their purpose is deliberatley ambiguous, they create the visual structure of the potential of connectedness. The spaces between zones are vital, the gulf inherent to seperation and disconnection while simultaneously establishing the hidden continuity which only reveals itself in division. The work reflects fractured systems of knowledge, memory and human relationships and suggests that even divided, parts can remain entangled, unified in separation.