A new series of digitally manipulated images from my personal archive. Is there a potential cost to storing and archiving our memories digitally? Will failure, obsolescence and corruption threaten our history?

An ageing Dog embracing the digital to explore the space that static paintings may not.

Numerous photos taken in a single day are superimposed leaving a single composite image, evoking a shrouded memory or apparition.

This series of work is an exploration of my interest in the image's relation to memory in a culture where it is predominantly archived and experienced digitally.

When time is mine, I like to walk about the city and absorb all that I can see. I'm attracted to the many materials, forms and patterns surrounding me, especially the reflection of sky, clouds and neighbouring buildings in glass curtain walls. I find affinity in the modular shapes that repeat rhythmically.

These paintings are inspired by the banded buildings of Bloomsbury and the restraint of Agnes Martin's minimal paintings.

Similar to many others I like to travel, walk and explore, whether it be my local surroundings or the exotic and less familiar. I witness the present and sense histories fleetingly. These maps are selections and recollections of the experienced, the imagined and the proposed.

This is a series rooted in the history of cities. A Prince's Capital is the city whose fortunes are typically linked to those of the ruling elite. The history and development of a Merchant's City is built upon trading links.

I selected motifs and images from street plans, the work of visionary architects, periodicals and books, which are then projected on to the painting's surface to create a mesh of ideas hand-drawn in ink. Further elements were painted, airbrushed or spray-painted on to the canvas.

Berthold Lubetkin’s architecture is dotted in and around the London Borough I have lived in for the past decade. His work attempted to unite the aesthetic and political ambitions of Modernism, of which Lubetkin was engaged, with the radical municipal socialism of a Labour Party-run Borough.

The rational configuration of tiles and other motifs in the façades of his buildings sought to assert the ideal of a socialist future as the rational endgame to progress.

In a new century the Cranbrook, Dorset, Priory Green and Spa Green Estates still possess a ‘wow’ factor when first glimpsed. For instance, the high-rises of Cranbrook stand like giants overseeing the grey, sooty surrounds of Roman Road, East London. Their step-and-repeat patterns of green and white now faintly echo the post-war optimism of their genesis.

I embarked on this series of paintings around the time of the credit crunch. I was working in a bookshop situated in an underground Mall beneath the building Lehman Brothers once occupied. There was a lot of doubt and uncertainty as to what the future may hold and it felt like our collective confidence had dissipated in the aftermath. I wanted to recover the essence of ambition and idealism, so I cast my eye to these beacons of optimism as I made my way home on the 277 bus.

I worked to isolate the motifs of Lubetkin’s constructions, with an aim to play and compose new configurations that would add a contemporary quality to the proportions and geometry found in these elements.