| BORN: | - | - |
| UK, 1959 | - | - |
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| LIVES/WORKS: | - | - |
| LONDON, UK | - | - |
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| EDUCATION: | - | - |
| 2007-2009 | Mphil Painting | Royal College of Art |
| 2002-2004 | MA Fine Art | Goldsmiths College |
| 1996-1999 | BA Fine Art | University of Brighton |
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| SELECTED GROUP EXHIBITIONS: | ||
| 2008 | Travalogue (curator Sotiris Kyriacou) | One in the Other, Vyner Street, London |
| 2008 | ’00 Nature: nature in the art of the 21st Century | Contemporary Art Projects, London |
| 2008 | Bow Quarter Annual (curator Sotiris Kyriacou) | Bow Quarter, London |
| 2008 | New London School (curators Simon Rumley and Zavier Ellis) | Mark Moore Gallery, LA |
| 2008 | Life is Half the Story (curator Richard Livingstone) | Christ Church, Spitalfields, London |
| 2008 | Shadowy (curator Fiona MacDonald) | Standpoint Gallery, London |
| 2007 | Gire and Gimble (curator Mindy Lee) | Blyth Galllery, Imperial College London |
| 2007 | The Future Can Wait (curators Simon Rumley and Zavier Ellis) | Old Truman Brewery, London |
| 2007 | Avatar of Sacred Discontent (curators Wolfe Lenkiewicz & Flora Fairbairn | 9 Hillgate Street, London |
| 2007 | Salon 2007: New British Painting (curators Sotiris Kyriacou and Flora Fairbairn) | 319 Portobello Road, London |
| 2006 | New London Kicks II (curator Simon Rumley) | Wooster Projects, New York |
| 2006 | Zoo Art Fair | The Great Unsigned, London |
| 2006 | Beauty & the Beast (curators Laura White and Richard Livingstone) | Fieldgate Gallery, London |
| 2006 | New London Kicks (curator Simon Rumley) | Soho House, New York |
| 2006 | Altered Beast (curator John Stark) | Three Colts Gallery, London |
| 2006 | Yabadabadoo (curator Juan Bolivar) | Cell Projects, London |
| 2005 | We Have Left the City Gates (curator JJ Charlesworth) | The Nunnery, London |
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| COLLECTIONS: | - | - |
| UBS Art Collection, London | ||
| Private Collections in US, UK, Italy, Switzerland | ||
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| ARTIST STATEMENT: | - | |
| My paintings act on the edges of vision, where the semi-formed emerges. Teasing and delicate, the oil paint reveals uncertain things. I lay down the paint, manipulating it, moving it across the surface, trying to find a point where the paint forms an ‘image’ yet, simultaneously, collapses back into being paint. The movement between paint as illusion and paint as matter through gesture is central to my practice. The action of deformation within the creation of form. Often the most interesting things come out of the wiped back, negative spaces. | ||