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The works in Raven Dances all respond to my immediate surroundings, inviting contemplation about the fragile nature of existence. Refuse becomes beautiful dancing ghosts, harbingers of our cultural disregard for so many precious things, including our fellow humans.
Seemingly insignificant minutiae, moments, people and things hiding in the shadows, and conversely blaringly banal objects are flooded with colour-saturated light in strange and sumptuous new worlds using layers of contour-conscious texture. These unlikely things all dance out of
context with each other often under brooding skies and the watchful eye of strangely dislocated people.’
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