The most important thing in coming up with a concept is the sustainability of it. No art is registered simply by temporal causation but instead in the loci of many perspectives.

What I want to deal with is how themes and ideas are not a simple aesthetic notion of contemporary attitudes but are invested in a larger performative stage. The shape, the forms, and function of things is a quest for the sense of what we are and wish to be. If art is to fulfil its role in social engagement it not only needs to be but also must be situated in the cultural political economic stew pot that is the determined components of society and culture. A visual culture is a desire for the activation of thought apart from its original ideological chains but also the pursuit of control. I mean this in wider term than its pejorative sense, in that the desire for the egalitarian society and justice is the pursuit of order in the equality of things.

Yet simply to state manifestly such opinions marks my interests in space in the sense of who and what I am as an artist, a visual space that occupies the distance between people in the inertia of being. But I want to do that also. That is concern the nature of this sense of place with in an artist's thematic and in the broader themes of each of our own interest. This way the construction and deconstruction of the work should become more apparent. As the apparent objectivity in an artist's social concern does not lead to a simple unquestioning attitude. Objects of concern are so because we give them the invested interest of our subjective opinion. An artist's pursuit is always in the sense of art, in the reaching for the unfathomable that the sublime secretes into the image and imagined domain. And this notion of art then follows into the sociological, psychological imaginings that are transcribed as the corporation of human behaviour in their pursuit.

So to sum up and condense the three key themes.

* Firstly a potted chronological history of my work.

* Secondly the themes that have attached bred and dissolved over the years.

* And thirdly how the sense of the world, in the communicative and performative sense has situated the work in itself.

Art in a process of reckoning is probably how I best see the work of my college years. Which is always in some way to do with the development of virtually all students from between that of aspiration and the reality, as some how it is perceived to be?