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Installations are an important part of my work. They enable me to play in space with natural and found materials (as in Sleeping Beauty and Star Hitched, Blood Tied), to respond to a specific site and make large-scale drawings (as in the long wall-drawing for the entrance space of the old Catalyst gallery in Belfast), to use and challenge digital media (as in the TV collages), and to organise a body of work in a visually and emotionally coherent whole (as in my Lost in the Landscape and Trees, Weather and Climate displays ).

In Lost in the Landscape, the works were intended to function as a single installation, reminiscent of a simple memorial chapel. The large images were hung above a low band of smaller-scale, more experimental material, similar to the predella panels in fifteenth and sixteenth century altarpieces, and suggesting the unconscious bog of memories from which the main paintings were drawn. The variation in style and subject of the main works and the unfocused nature of the band of smaller imagery were intended to allow viewers to find their own way in, bringing something of themselves and thereby completing the act of memorial.

The Trees, Climate and Weather display was intended to offer the viewer an extended, allusive, sometimes ambiguous argument, across a wall.