The works presented here date from the 1980s, a time when explaining or contextualising artistic intent was often deliberately avoided. This reluctance adds complexity to any attempt today to articulate the motivations behind them. From the vantage point of the present—and with apologies to my earlier self if I miss the mark—I’d like to tentatively speculate on what might have been at play in these pieces.

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Given the inherent challenges in retrospectively understanding one’s own work, this text takes a more cautious tone compared to other sections of the site. Any objective analysis is inevitably coloured by distance and change in perspective.

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The atmosphere at Chelsea School of Art was heavily influenced by a pervasive sense of impostor syndrome, which may have significantly shaped my approach. To counter this pressure, I adopted a strategy of working in a seemingly vulgar, decorative style that resisted easy categorization as either painting or sculpture. The organic, plant-like forms, with their capacity to envelop space and objects, embodied a "making" energy—one driven by production and flow, and conspicuously void of content or fixed meaning.