I like to think of painting as an everyday practice. My thoughts on painting are not entirely rational, they often begin with a momentary feeling. For me, painting exists in the gap between reality and memory, at the edge of image and sculpture, and is the most effective medium for connecting 'feeling' and 'knowing'.

I have refused to use photographs in my recent work, but there is no escaping the fact that images, in the broadest sense, shape human perception in time and space, and that they act as a substrate for perception. The traditional sculpture-plastic as two combined verbs suggests the presence of the 'hand' and its effect on space (three-dimensional or flat). If we take a step back from the complex analysis of painting traditions, for the painter the tradition of the hand - the body - also implies a tradition of painting itself. The unstable nature of colour as a symbolic meaning and the wide freedom of language make the painter's work encompass a more complex overall situation.

At this stage I have defined the scope and manner of my work, which revolves around the contours of objects existing in space as the base form of a structural language of symbols, and the embodied reality of the painted surface revealed in the process, responding to an abstract expression of inner feelings through the pull of the gaze. I work with images in a number of ways (twin juxtaposition, mirroring, repetition, cutting, positive and negative forms), building and manipulating the structure of expression by appropriating and reorganising the contours of objects, and trying to be concise and precise. I refer to this as the structure of expression rather than an excavation of the symbolic meaning of the image itself; the 'content' as a possibility that exists in the colour is open to the viewer (the painter as well as the viewer of the work).