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The images presented on these pages show 'paintings' created prior to the production of the Darkwater Tarot (Project). This work attempts to explore, through meditation and research, visual ideas relating to personal and collective memory (see menu above: Darkwater Tarot). The images (below) are representations of archetypal ideas, using a minimum of iconic imagery relating to the Tree of Life. 


Below top: four large-scale images intended as a room installation - The Four Elements, 1998-2002.

Update: to the Four Seasons project - 24th September 2018

Below 2: Photoshop roughs, bringing together ideas for the final pieces.

Below 3: Sketchbook drawing relating to the Four Seasons project

2: Photoshop 'roughs'

3: Sketchbook drawings

Projects (below) update: 20th November 2017


A series of five digital images based on a car journey from Atlanta (Georgia, USA) to the Carolinas in 1997.


Viewed in sequence (from right to left), each image describes a clear state of consciousness after waking from fitful sleep. From inside the car, the waking subject experiences a number of different ‘views’ of the outside world. Five periods of time and many miles elapse between falling asleep and waking. The transition into sleep is forgotten and with each new waking state, the viewer is confronted with a different scene. To the observer, the series INTERVALS CFM67 might be understood as a succession of commonplace images; however, when seen in the light of a sudden ‘awakening’, the series takes on a more complex, confusing and even sinister dimension. 


INTERVALS CFM67 is an example of a false visual memory. The documentary nature of these 'snap-shot' images hides the false memory of a journey, produced many years after the event, bearing only a passing similarity to the 'scenes' from the actual journey. The images were constructed to identify diverse change (immediately after waking) in order to control a range of visual information. The images are an abstract cliché of an insignificant event which occurred in 1997. 


Produced in 2011, the five images (INTERVALS CFM67) are constructed from eleven (detail) digital photographs. All images have been modified to complement each other with regard to basic subject content and tone. The finished series was exhibited in 2012.

Home (below) update: 4th March 2018


Exploring our environment at night, and in relative darkness, is clearly a true primal experience; an experience we share with all humankind, past, and present. Many of our fears are based on unseen ‘things’ in the dark. Tales of myth and legend use darkness and ‘the night’ as a metaphor for mystery and evil. Whilst acknowledging some of the fascinating elements of such ideas, I find that in recent years *my observation and reflections on the physical world (natural and build environments) in particular at night, brings me peace and comfort at this time.


The series of digitally modified pencil drawings (Home) explores a familiar physical world at night; the only light source being the moon. My interest in vision at night stems from how I see the environment at night. My vision (eyes and brain) breaks up the flat black areas of darkness at night, into a textured and irregular pattern, which comprises of minute white and some coloured shapes within the darkest tone of any given view.


*Where the light is brightest, the shadows are deepest: Attributed to Johann Wolfgang von Goethe,also anon, Irish proverb.


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