My practice stems from a questioning of the expectations of what art should be and the stereotypes and mythologies of what an artist should do. 

These paintings are indulgent assertions desperately trying to be masterpieces. They have mass-market representational appeal that delivers “The Spectacle” as written about by Guy Debord in 1967. Advertising and marketing promise greatness and glamour but leave us with grotesque artifice, temporary commodities and vain delusions. In these paintings low-culture kitsch is implanted into pompous high culture, the traditional sublime is perfected and given an advertising makeover. 

The insignia is my elaborate logo that embodies the narcissistic flavour of the group, a spectacular flourish promoting my brand and brashly declaring the paintings, and my artistic genius, as commodities. These works knowingly implicate me and my enjoyment of the subject matter and painting itself, despite paintings historical baggage and associations with non-critical art.