I kind of began life as an oil painter, and I'm a really slow painter, probably a detailed painter. Drawing was like a bit of a relief, like a bit of something on the side, a release from being so serious. And it kind of took on a life of its own, it was really refreshing. I was doing small drawings, figurative drawings, and it was like a form of collage, because I would take those drawings and then combine it with really interesting surfaces. It was really exciting, like I’d get pay slips, you know like a waitress’s docket and I just loved the combination of all these textures, and, you know, found objects, and how they’d come together to create a story. I love that juxtaposition of like a collage or a drawing when placed outside on that different texture that tells another story. I really just love that beauty of the everyday and spaces that are overlooked. So I began pasting them up in the city, near my studio, and just had a really encouraging response. It's kind of grown from there.
Flying has always been a big thing with me, falling, flying. So, when I was doing street art, I never wanted to go over anyone else's work. I was really worried about that. So, I would take my ladder and I would always go higher than anyone else so that I wasn't covering anyone's work. So flying kind of easily fit into that narrative, because, you know if there's a work high on the wall, it wouldn't really make sense to be standing. So then that thing also took on a life of its own. But that goes right back for me, too. I've probably been interested in that subject matter ever since I remember the dreams of flying and stuff like that.
I think like a lot of artists, you know, you have an obsession, and it goes right back. It's like a really kind of deep subconscious thing.
