Painting problems are an integral part of painting, they inform and motivate much of what I do as a painter. These problems with painting both as a practice and an object relate mainly to structure and structuring. My thinking around painting centres mostly on its facture and how paintings can be made.

With painting, I try to resolve these problems pragmatically no matter how obfuscated the signs of work may be. If I am unable to resolve a problem, for instance a material transgression, I may choose to capitalise on it depending on how it affects the painted image. What has emerged by working this way is a narrative around painting as a process.

My use of printing techniques in combination with painting allows me as a painter to distance myself from the western tradition of painting whilst initiating and maintaining a personal dialogue with painting's heritage.

This type of methodology allows me to work directly out of my own experience. As part of this practice I employ the use of imprints or rubbings so that I can sample aspects of the painting as it occurs, repurposing them in other works. It is through repetition that I assign the memory of these incidents to technical procedures which in turn give shape to the paintings pictorial form. I have come to refer to this process as acquired knowledge.