These paintings are part of an ongoing sequence of clusters of work that, through the process of their making, respond to, or play towards, figurative imagery, but are not specifically figurative in their final state. In this way the paintings often transform greatly over the course of their creation, sometimes being rejected and re-found much later, sometimes losing their built up palimpsest of marks or texture by being re-started or by making a fresh, single sitting, painting of an image generated over time on a new, sometimes unexpected found or ceramic, support. The original imagery is consistent in some key, mostly unarticulated, ways and provides the perceptual subject, or area of research, for the writing, drawing, painting and sculpture. Its meaning is acquired by manipulating the connotative qualities of the text or the mark on the page or in the frame as it becomes. This mode of working has arisen out of a long term interest in the contradictions and mythic equivalences between the making and spectating of these different media.