Mixed media on canvas 90cm x 90cm / 35.4 x 35.4 in. 2013 - 2025 Click here to view #canvas #visualcommunication #analog #digital #art #artist #collage #decollage #canvas #mixedmedia #drawing…

Mixed media on canvas 90cm x 90cm / 35.4 x 35.4 in.2013 - 2025Click here to view#canvas #visualcommunication #analog #digital #art #artist #collage #decollage #canvas #mixedmedia #drawing #painting #photography #illustration…

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.

Lost Connection explores the fragmentation of meaning and the decay of informational structures over time. Using repurposed elements from earlier works, it reflects on how content becomes dislocated, degraded, and reinterpreted. The piece features geometric motifs—cuboids, crosses, and digital traces—that suggest data systems, belief structures, and memory. Their eroded forms evoke the entropy of stored information and fading human connections. Intentional gaps and interruptions in the composition act as structural elements, representing both breakdowns and opportunities for reinterpretation. These absences emphasize uncertainty, disconnection, and the potential for reconstruction. Ultimately, Lost Connection suggests that meaning is not fixed but emerges through the interplay of presence and absence, inviting viewers to engage with it as an open, evolving system.

A transitional space that follows significant events—a moment of pause, the onset of recovery, of stillness. It is a place to rest after a journey or upheaval. The beginning of afterwards. Saffron orange, the central colour, evokes both vitality and alertness, reflecting a balance between comfort and vigilance. A state of readiness. Applied to the raw reverse side of a retasked canvas, the untreated surface presented stains and markings, traces of an older process. Providing the metaphor for transition from one current state to another. Sparsity of marks and vagrant traces evoke fragments of memory, of content. Subtle suggestions of debris or residue of an experience and its memory. embedded in the canvas, allowing the empty space to become the content.

Untitled ( The Parallax View ) began during a time of profound uncertainty. The canvas was, at first, a monument—something that could be both looked at and looked from. It anchored me to that place and moment, reflecting two possible futures, one of which felt catastrophic. Over time, the image was exhibited, then taken off its stretcher and stored—out of sight, gathering dust. When I returned to it, the emotional charge it once held had shifted. What I had once labored over, I no longer felt bound to. I began removing large areas, erasing elements I no longer liked. In the process, even parts I had wanted to keep began to fall away. Rather than resist, I surrendered to that momentum of reduction. There was an unexpected satisfaction in the act of removal—in destroying what I had once so carefully made. The image that emerged is stripped, pared down, raw. What remains speaks more clearly to me than what came before. There’s something deeply temporal in this process—something was here, and now it’s gone. The marks left behind are quieter, humbler. They suggest not just what was, but what has passed. I’m drawn to the humility of that. It reminds me of Rauschenberg’s Erased de Kooning Drawing—how absence can be as loaded as presence, and how erasure can be a form of truth.