My wall paper pieces explore the historical visual discourses of a variety of regions. I take photographs from a number of locations and create photomontages using computer technology. More specifically, I have digitally recreated photographic versions of early colonialist panoramic wall papers including the French company Dufour's representation of Cook's travels to the Pacific, Les Sauvages de la Mer Pacifique . The stylized, utopian, and often hybrid, landscapes and environments represented in these wallpapers were intended to indulge a Western scopic desire for exotica and travel and as such, represent a variety of historical, political and social discourses. Through shifts in perspective and pictorial space, mock installation, and use of new media I aim to engage with, and problematize these representations.

I have printed the full photographic version of the wallpaper to the dimensions of 115cm X 1200 cm (title, The Organisation of the View ). This was installed around the 4 walls of a room so that it surrounded the viewer. The precise and complex ornamentation and detail over areas that go beyond peripheral vision in a panoramic format is significant to the work. I am interested in the philosophical, aesthetic and conceptual implications of these images and architectural forms. Other pieces involve digitally inserting the wall papers into photographs of existing architectural spaces. I aim to create fictitious architectural histories through digitally importing the wallpapers which are themselves examples of another imaginary space and historical fiction. These site specific pieces are then exhibited in the existing architecture with the aim of playing with people's memories of past architectural detail

I have recently created new work for an exhibition in June that moved away from reference to specific scenic wallpapers, but remained within the panoramic landscape format. These works are also hyper real but also shift between day and night imagery within the one scene. All of the works have contradictory lighting directions again emphasizing the highly constructed nature of these representations. My interest is in creating landscapes that are difficult to pin down, that are so real they should exist but are impossible at the same time. One of my interests is to explore what happens when we revisit images of paradise that are products of earlier times, through using contemporary digital technology? How does this juxtaposition of the old and the new relate to traditions of landscape art and contemporary issues?