What interests me is the way things are remembered in visual terms, I am bridging the gap between memory and the present in my work. Like many people I associate different shapes and colours with decades of my life and places I have visited. When I return from travelling and begin to work through the sketches, motifs will arise that come to symbolise place, time and cultural history. There is an element of storytelling here although the images are abstracted. I surround myself with sketches and photographs but ultimately try to paint as instinctively as possible. My work was figurative for many years before moving into abstract and the bones of figures and landscapes always underpin the images I make now.

I want my work to be an antidote to the slick digital imagery that surrounds us on screens everywhere we go, so I preserve brush marks, paint splashes and mistakes rather than covering them up. I often work from images that are in danger of being forgotten, black and white snapshots from my childhood and aerial reconnaissance photographs that my father took from his Spitfire in WW2. This has led me to explore further the memories of the Second World War from other perspectives and I'm currently working on images from a visit to Hiroshima last year and Valetta in Malta this year.

I want to make work that has an immediate impact, but also a sonority that reveals itself as you spend time with the work and encourages contemplation. To me, there is no correct interpretation of the work, I’m not making images that you need to read about before you look at them, I hope people can connect to the pictures on an instinctive emotional level and relate them back to their own lives. We can hear the aria from an opera and respond to the tune instinctively before we know the story behind it, abstract work can be appreciated in the same way.