‘The impulse for embarking on these new transfigurations, expressionisms, romanticisms is, therefore, plainly instinctive yet, according to the artist, finds programmatic correspondences, in a view that is the subject of increasingly restless murmurs from various quarters: namely that the outright negation of the concept of transcendence, and similarly a distrust of any shared reality and values, are the basis for a practical impoverishment of modern life, and in turn also of artistic discourse. This is the inevitable point of arrival of a civilization, that for all its heights of achievement, is more or less insidiously and imperceptibly pervaded by a background noise of bite-sized notions, that reach us awkwardly detached from their original academic mainspring: relativism, individualism, the easy and amateurish mechanicalism inherent in consumer culture, the concept that every altruistic act has selfish implications and so on and so forth. Such notions, in a more appropriate learned context, might well have a certain intellectual girth, even, perhaps, accompanied by an evaluation as to the sense in their practical application, but in the shallow second-hand iteration of popular culture, appear as little more than a foolish intelligence of beings grown far too complex for their own good. Who other than experts in the field, might be in a position to ask why a rational luminary such as Wittgenstein, while testing the limits of knowledge itself, had in the practicality of life, a deep respect and attraction for the religious or transcendent sphere, whatever the lack of any valid role for it in an epistemological framework?

Formally, the digital medium is here a means to bridge the gap between photography and painting or etching, at least as far as the strictly visual effect is concerned, drawing freely from the sensitivities of all such disciplines. It is evident that certain expressive approaches are favoured, but with no intent to evolve a specific and recognisable style, which at times emerges and at times dissolves. The prints are executed with much care on a wide variety of photographic and traditional paper materials.’ (Adapted from Soundings Exhibition brochure)