My painting practice attempts to represent beauty in terms of affect, that is, our immediate and emotional response to beauty. I collect printed images and my own photographs as references. These are painted, then colour is built up over them using thin glazes of oil paint, until an intense luminosity is achieved. The original paintings are embedded, but are almost lost under the layers of colour, they become evanescent. The final paintings remain open, simple and accessible.
In this way I can withhold meaning and narrative and side-step outdated ideas about what beauty is, or what it might have been.