This solo exhibition gave me the opportunity to show very large paintings combined with very small ones in a vast space. I chose the works on the basis of being representational of my recent practice as a whole with works dating back to 2007. As with all my solo shows I aim to explore the relationship between layered, flat on flat surfaced painting with the disembodied stratums of windows programmes from the digital screen.

I also chose to exhibit rarely shown paper works on the Mezzanine floor below the main gallery. This choice aimed at giving a larger, extended overview to my practice rather than simply showing the finished paintings.

My paintings, which operate at the interface of abstraction and pop, are constructed by combining poured, abstract configurations of transparent varnishes and opaque household paints with ready-made graphic stencils. The repeated pouring, in conjunction with the pop signs, form a physical process of sensual flat-on-flat layering that reveals multiple perspectives and optical depths. This layering is part of a fracturing process or breaking up of a recognisable image, a response, to the ever expanding proliferation of broadcast and internet-based images that fill our screens.