These paintings exist in tension between polar opposites - between microcosm and macrocosm, process and image, signal/noise. They evoke the burgeoning image worlds of science, medicine and surveillance, suggesting a vocabulary of pixels and data points, the granularity of the digital and the glow of the computer screen.

The reference to digital technology is however paradoxical. These are resolutely analogue pictures; developing slowly, incrementally as countless dots are deployed across the picture surface in a grid-like array. Gradually, as successive layers of marks are built up, dot upon dot, the blind pulse of the grid is disrupted and dots are eclipsed by passages of further dots, forming variegated strata and suggesting a geological timeline or fossil record of intention. Ingrained here amongst the layers, the contest between compulsive repetition and the conscious shaping of an image is played out. The image (or afterimage) hovers between fragmentation and assembly, a spectral presence suspended within the dense matrix of the picture surface. Close inspection of this granular, stratiform terrain allows the viewer to read the entire procedural history of the painting.

What I am after is a sense of painting as a kind of historical residue or aggregate state - an accumulation over time of numberless minute emotional decisions, hesitations and resolutions - congealed sensation.