These works have roots in Chinese ‘Shan-Shui-Hua' painting where multi-perspective and temporality are important features. The works derive from the experience of a particular landscape or place, and the overlaying of perceptions and impressions in the mind. I use a camera to capture and record this experience, photographing the numerous individual elements which catch my unselfconscious eye, but which nevertheless combine and inform my memory of the place.
Back in the studio, I reassemble these elements, layer upon layer. Hundreds of image fragments form the final picture, with a fluidity and interconnectedness that express both the actual and imagined - an omnijectivity of the plural viewpoint. To truly fathom a landscape one must see it from several viewpoints. This is how the mind conceives the landscape - both in perceiving it over time, and then the subsequent creative memory. Memory is collage.
These works merge several practices which gave much of twentieth century art making its tension. Those being painting and photography and the tension between the two. On the one hand they represent nature in a painterly way and on the other they rely on photography to arrive at their representation of reality. The works are the product of imagination, they do not depict a moment in time, but a span in time whilst every element within them is real, captured photographically in its own moment of time. They evoke the truth of nature and yet that truth is created whole cloth from a medium of mechanical reproduction.