Documentation of my solo show at Stallan-Brand, Glasgow, from 13th November – 19th December 2025.

On display are a collection of cast concrete panels, editioned ‘prints’ made using the plastic bags which stored childhood belongings in my parent’s attic for the last 25 years. Reverse images featuring Pop Idol Party, PC World and Safeway imagery, amongst others, hint at our historical place in Earth’s strata, a prospective Plastic Age layer in the planet’s crust. Displayed using rusted steel salvaged from the coastline, the illusion of material permanence is laid bare.

These industrial pieces are twinned with a series of works produced using paint chips and peelings, gathered initially from home but now stretching farther afield as the project gathers pace and morphs with my movements. Unashamedly domestic in their focus and execution, we see decades of colour choice, torn and flipped on edge, the fine layers of historical interior design are used to create abstract works which mimic the landscape. These particular additions to the water table have been saved from landfill, for now.

On the floor are sculptural works made using thrown clay bricks, probably the only truly natural material in the exhibition. Originally intended as vehicles for the display of an array of personal elements from the studio, these works have developed into the pair you see now. Taking their cue from a 15-year-old work, originally made from unfired brick, they are equally dark and absurd in the same breath. Stimulated by the discovery of a box of home videos, over twenty kilometres of videotape in the gallery are covered in imagery from the past, contents unknown. Little more than a fart in the wind, we may as well have fun while we’re here.

I am grateful for this opportunity to bring together a series of works from the last few years of my life, during which I have moved house, had another baby, emptied my childhood home and held my dad’s hand as he teetered on the brink of the eternal abyss. Discussions had taken place with a learned doctor about producing a piece of writing for this show, something more digestible to the art mafia, but ultimately not quite right in what this exhibition aims to put across, namely my reactions to the goings on at this point in my life, propped up by the basal urban surroundings of my upbringing.