Having been a representational painter that was concerned with presenting the viewer with a resolved image; an aesthetic that disguised the underlying activity of a painting; I gradually became more interested in the steps taken towards an outcome and gained confidence in exhibiting the process of making a painting. Representation became redundant in my practice as the development of layered mark-making and colour combinations took priority and a non-objective visual language developed. Allowing the viewer to see the struggle within the work is important to me as the physicality of paint and surface replaces illusion.