Initially inspired by my experiences staying in various motel rooms across the country - a place of both transience and permanence - I was fascinated by these impassive structures, offering both comfort and escape for people with their own stories and mysteries.
The series has since expanded into an exploration of rooms themselves and how inhabitants interact and exist with and within the space. In this sense, I was inspired by Francis Bacon’s depictions of people close to him, in distended and distorted brushstrokes that captured his own internal conflicts and fixations.
Equally influenced by the vision of David Lynch, this series interpolates psychological states through the language of dreams, juxtaposing characters with the constant murmur of interpersonal conflict. Amidst all this, the only constant is a white, amorphous shape; a symbol of the dreamer as they appear in their own dream.
I've always been fascinated by the bull and particularly bull fighting, which I have very polarised feelings about - on the one hand I find it completely barbaric and loathsome, but on the other, it's compelling and beautiful in its passion and violence (in the same way that Goya's 'Disasters of war' is beautiful). I have also always been deeply fascinated by mythology, particularly from the Greeks, and have incorporated some characters in many works, which is why that particular piece is called 'Minotaur'.
There is a homage paid to Bacon in the work titled 'Portrait of a Marriage' where I recreated one of his studies of Lucian Freud on one of the walls of the room.