Time is forever transitory, shifting like granules of sand contained in a clepsydra of the universe. People searching happiness may contemplate going back in time, but in doing so they neglect the present at the same time. Whilst we understand our lives backwards, we must live them forwards. However, because we exist only in the present we never reach the plenary repose when we gain absolute retrospective insight into the meaning of life and history. It is this frustration that summarizes the human condition.

Human existence is perceived both collectively and on an individual basis. Even though many people may pass through our lifetime, the feelings of isolation or loneliness have a universal currency. Here the desolate spirit is literally cast aside, estranged on murky, stagnant waters.

Inspired by the dramatic skyscapes and seascapes of the wharf at dusk, this piece aims to replicate the moody allure and hypnotic pulse of a lighthouse signalling from a distant harbour. The artwork is visually anchored by the symbolism of the seahorse - a motif which is gently echoed throughout the canvas.

Childhood experience is so idiosyncratic, particular, personal and primarily 'felt' it is in many ways mute in terms of language. The landscape of the past is precisely that: a landscape. No efficacious doctrine 'about' it can be constructed, much less preached. This artwork is inspired by the childlike wonder and marvel that we once had with the world, hinting at a dreamlike landscape that is forever hovering just outside of our grasp.

In visual studies and cultural theory alike the veil is a highly politicized and contradictory symbol capable of suggesting voyeurism, visibilty and violence. A partially masked face may signify repressed emotions, but by supressing expression the veil can also act as a device which defines and liberates the self. 'The Net' is created with this paradox in mind and utilizes the symbolism of the veil as a metaphor for both isolation and integration.

The effects of time and erosion on man-made surfaces creates characteristics which can hint at other hidden worlds. Quite instinctively, the human mind tries to make sense out of the illogical shapes, surfaces and patterns that it confronts by identifying these abstract symbols and transforming them into representational forms. This artwork subtly references Rene Magritte's 'Ceci n'est pas une pipe' ('this is not a pipe') and amalgamates portraiture and landscape art together.

Brak opisu do tej pracy

The calla lily has been highly emblematic throughout history; representing different meanings amongst Christian, Roman and Judaic traditions. Ironically, in more recent times, this flower is associated with both weddings and funerals. Strange to think that this one flower is synonomous with not only the happiest, but also the saddest event in a person's lifetime.

Inspired by a dream-like psychosis and the juxtapositioning of natural and artifictial elements, 'Surreal Sea' incorporates imagery of gelatinous zooplankton (jellyfish) with extraterrestial life forms. The sepia hue counteracts any futuristic readings by implicating a wistful nostalgia to the piece, whilst the symbolism of the hot air balloon evokes the frailty of the human condition and the fragility of our dreams. In the context of this artwork the flat line of the horizon conjures up the ideal of pilgrimage and the universal myth that life is often better over the horizon.

An audience may clap when an actor dons a costume and dances to music, but a more raptuous applause can be given to a wooden puppet emulating this performance. Many have stated that art imitates life, but in this instance it more truthful to say that the simulacrum of performance is often more enjoyable than the actual performance itself.

Chess is a game of logic and strategy. Sometimes an absence of logic and strategy can be valid as a form of expression.

Many have argued that time does not exist on a linear plane, meaning there could be no beginning and no end of time. In this artwork the utilitarian functionality of the standard clock face has been given a Daliesque reinterpretation - accentuating this idea of time's never-ending spiral. Here the spiralling coil represents repetitive action, the continuum of life and the futility of mortality.

By turning the figures back towards the viewer the onlooker is left in doubt as to the plight of the individual. This visual technique generates a surrogate spectator and has a rich tradition of association with modernist painting more generally. I have adopted this technique in 'The Hope', an artwork that adresses the uncertainty of our future as well as the anonymity of our collective past.

The inspiration behind this artwork stems from a friend of mine, a musician who loves travelling outside of the hustle and bustle of the city where he can play the fiddle on his own.

The impact that an individual can have on a group generally diminishes the larger an organization becomes. Can one persons' opinion or vote really influence or make a difference? It is sometimes easy to forget that the group ethic consists of nothing other than hundreds and thousands of individual voices and that this multitude also comprises solitude.

The other half, two peas in a pod, or an apple cleft in twine; we have many different ways to express a perfect union between two people. Together in such a relationship, it is possible to overcome many adversities. The notion of solidarity, alliance and the triumph of togetherness all provide a source of inspiration for this artwork.