My practice revolves around the Humorous, The Commercial, and the surreal. Currently, it is exploring the extensive world of my childhood drawings as a way of colliding these themes. The  transformation of mass media inspired drawings of things like Star Wars and The Lord of the Rings characters I drew when I was ten into strange, and funny artefacts.

The most successful of these recently have been minimal works that find humour through their futility; actions like taking a day to stretch a large canvas then painting something stupid on it like a half-finished image in three minutes show this thought process in its full effect. These images express the pointlessness of producing large paintings which are so much more expensive, time consuming and less commercially viable than their smaller counterparts, but by being stupid, they can express themselves as intrinsically valuable pieces of art. This intrinsic value is how funny this process is, but also the existence of these objects as artifacts in a nostalgic, otherworldly false history (the ambiguity of these images is also intentional, they cannot be described with words very well). In a less serious note, this kind of art is fun to make, and elevates my lowbrow childhood drawings to an institutional fine art context. Surreal Pop art is the best way I think I can describe this practice, or at lease this project as it is the regurgitation of initially very recognisable mass producible things. An image of something like Darth Vader, is initially processed through the lens of ten-year-old me, and processed again through twenty-two-year-old me (who is infinitely more boring than ten-year-old me) to produce objects that are nearly visually alien, and definitely conceptually alien, to what they originally were.

My practice has resolved itself for now in a fictional pub The Cowboy Builders which me and two others built for the Glasgow school of art degree show. It takes the immersive nature and surreal humour of these paintings into a physical realm; it brings the viewer into a segment of the world that these ambiguous and strange images feel as if they could be a part of. Pubs are of course curated gradually over years to the point where the images and the building are essentially the same environment and therefore the install of the work in this exhibition crosses over into being part of the space. Sitting in the space should evoke this feeling as well; allowing the viewer to engage the work from a comfortable seat will absorb them into the space of the pub as if they were one of the clientele which are, again, part of the visual language of this kind of interior. We chose the name The Cowboy Builders because we are art students with little experience in DIY building some sort of haphazard interior environment.