Wave 2016, collage. This work formed part of a series, Bring Out Your Dead. As with much of my image based work, it is an attempt to examine the authority of the printed image and the narratives coded into them. The use of found imagery produces both a sense of familiarity and one of unease: in the cutting and reordering there exists both a continuity and a disjunction with the world as it is imaged. It allows, through the physical act of reassembling, time slippage and the questioning of representation, hierarchy and power.

Southside Cinerama presents How The West Was Won (MGM 1962) A site-specific installation, involved converting the space of the ubiquitous tenement bay-window in a living room into a Cinerama screen. The film chronicles the fate of a family of pioneers as they cross the American West and brings the narrative, in the soaring finale, to contemporary America- complete with scenes of traffic jams, skyscrapers and industrialized farming. Although in many ways of its time, the film begins to make a tacit nod to a more progressive understanding of the American origin story, with allusions to the mistreatment of Native Americans, the plight of women and the excessive behaviour of corporate America.

This work took place as part of Glasgow Open House Art Festival, 2017. The festival sees artists open their homes and other non-gallery spaces to the creation of work and events.

above, When there are people, then there are none 2018, collage. Continuing a more experimental approach, mainly looking at how two pieces can marry. Below, Inks and solutions 2018 and, bottom, Direct hit 2018.

Spark Regional Upheaval 2018 as part of preparatory work for time spent at the Glasgow Print Studio.

Sketchbook scans

From 2016, Grief encounters versus the explosive world and vice versa, a collage consisting of two different versions of the one image found in two publications. One, the World Press Photo book and the other a photographic compendium of the twentieth century. Again as part of my collage practice, this work addresses the fundamental schism that separates the what we experience from the narrative coded into documentary of the same experience