In using paint to make work it is the materiality of that medium that interests me, the materials ,enamel and emulsion paint on MDF come from the DIY store. Part of my choice in utilising these materials is to demystify the process of making paintings- as they are easily accessible to anyone and eschew the possible elitism of traditional oil paints. The work starts with a process but during the course of making each piece the process is sabotaged to allow other factors to play their part eg chance, time, temperature, intuition . The slippage between artistic intention and the properties of the materials is an absorbing aspect of the work. One`s expectations are continuously being confounded. A chance movement during the making of the work, a change in temperature and everything is altered: a colour has poured into another so that it is visually unacceptable or at worst must be discarded. That unpredictable element adds to the excitement of each piece`s creation. The highly shiny surface places the work in the contemporary world of syntetic materials- computer screens, film or shiny vehicles passing with a `whoosh `sensation. The shiny surface also reflects the external space of the world, the environment in which the viewer and the work are situated. An actual rather than an illusionist space is created, which references devices within current technology. The choice of colours is instinctive, they have been absorbed unconsciously from my surroundings: when living in an urban environment the colours become harsh and strident,while in a rural location they become more calm and harmonious.