I seek to narrate a feeling, a sense of being in a built world - geometric forms opposing or complimentary, light defining areas of energy

I like the way our constructed world forms a canvas to our lives, constrains and captures light, gives form and order…

…as we pass through, often unaware of the drama we help create

Overseer rather than facilitator

The intensity of our lives carries its own energy. Does this transfer to the structures that contain us?

A first glance creates its own energy, in this instance, amplified by the dog’s intense focus on their direction of travel - the dynamic that balances content and composition

Again, the moment of cognition amplifies the aesthetic

The white wall is centred in the frame - the thousands of marks and indentations slowly coming to the surface to create their own presence, immoveable when set against a figure absorbed in their own story. My inspiration for this stems from artists such as Rothko and Malevich and the contemplative nature of their work

In my column series I am drawn to their impassive nature, their representation of power and strength - the way the built world contrasts with our transient lives. Their impassiveness helps create a sense of our passing through, by comparison, a fragile state

Does the energy rest with the figure’s haste or with the column’s steadfastness?

I use colour sparingly. I like the way black & white simplifies an image, allows shapes and space more clarity, but sometimes colour adds something. The muted colour palette of the wall, column and pavement are replicated, unknowingly, by the figure. A kind of abstract realism that gives to the column a sense of being

The figure’s vivid coat is always going to stand out but keeping just one column in focus creates an intimacy that balances with the poise and position of the person

The interlocking perpendicular structure feels like an abstract figure in the way a sculptor such as Anthony Caro might deconstruct a person. The small boy creates a counterpoint of scale and realism

The concentration and direction of travel of the close figures are bluntly at odds with the aesthetic, creating a different rhythm, a kind of human graffiti playing out against the daubed wall. I think of this as brutalist art - a classical composition aggressively challenged visually and emotionally

Two worlds and time passing at two speeds

A contemplative sense of reaching an end. The windows peeping out of the darkness top right add to the sense of a past, a life lived and reaching its conclusion

A lone, diminished figure hidden in the shadows walking out of frame gives a sense of something greater than ourselves