A series of photographs exploring conceptual representations of man’s presence in the landscape, made in collaboration with the artist’s eight-year-old son: “we gave ourselves up to curiosity, chance and organic encounter; from these experiences arose the notion of travelling both in literal space and personal and historical place".

"The photographs in this exhibition are a collaboration with my eight year old son, created upon a random journey, when we gave ourselves up to curiosity, chance and organic encounter; from these experiences arose the notion of travelling both in literal space and personal and historical place."

"When asked where he was going, (in the hope that one could accompany him), my grandfather would reply: "There and back to see how far it is." An answer I found equally thrilling in its precepts of adventure but also disappointing, as it was understood that that phrase meant one couldn't go. Now, I am giving myself permission to go, just to see how far it is."

A series of “moving painting” video works, and printed stills, exploring the relationship between the documentary video image and layers of animated lines. The video images are taken from journeys, either actual journeys by train, or car, or the movement of the eye around city / landscapes. The lines, (partly influenced by Barnett Newman’s ‘zips’), divide up the picture space and emphasise time and events in the film.

"I regard my video work as moving paintings and through it I have been exploring the relationship between the pictorial/documentary image and layers of digitally animated vertical lines. The image has been of journeys, either actual journeys by train, car etc, or the movement of the eye around city/landscapes. The lines, partly influenced by Barnett Newman's 'zips', have provided a constant presence, dividing up the picture space and emphasising time and events in the film."

"In each of these pieces I made a video of a city space, edited it and built up the layers of line and then replaced the pictorial image with a white layer. In this way I was able to explore the language of the line itself. It has become the whole image thus enabling me to use different colours, weights and angles. The rhythms that have been created need no emphasis from extra lines to signify clock time."

"Also, a new narrative has been made which is free from distractions and invites the viewer to take a journey of the mind. The sound, which is a combination of 'stretched' and slowed ambient sound, adds a layer of physical presence and an 'earthiness' that counterbalances the serenity of the image."

"The journey is a metaphor for the impermanence of existence of which the film is an emphasis and acknowledgement."