I observe people akin to a data attainment process.

I treat my subjects like algebraic notations, full of coded detail to expand and extract.

In a world where the line between fantasy and reality is not always clear cut I choose painting to try and figure out how I see individuals.

From self-portraits to portraits of my family and friends I paint people underpinned by technology, making my paintings both at odds and indebted to a trajectory of social realism. Through connecting painting and the medium of spatial computing I hope to push the genre of New Figurative painting into a new realm.

Through technological ways of being-present I consider what a face-to-face encounter is when there is a cybergaze. I want to know to what extent physical presence is no longer beings most eminent mode, which I have been examining through my coining of quasi-Dasein (a virtual, seeming, or partial way of feigning physical presence).

I use different levels of representation, combining a hybridisation of traditional techniques and contemporary technologies. A prevalence of digital discourses in my everyday life started my interest in our fundamental ontological ground and how it is being returned to us through our own ontically situated existence. I owe a lot to the dark writings of Rilke and Heidegger who shaped my phen-onto-theological thinking from a young age. They taught me to question every thing I see and to loathe reality in such a way that I see the lies in all of my paintings are much more honest because I am the creator of my illusions.

The way I use paint sensitises and desensitises economies of detail; asking how can we paint from life today when screens have become representative and vernacular accounts of vision?