These paintings embody both the desire for an interior space and the negotiation of a representational language adequate to this. Painted out of a dark monochromatic ground, what is to be seen is selective. The emphasis is upon the sense of inhabiting- inhabiting the space, inhabiting the image as a space. The sense that these interiors are not self-evident arises from the feeling that we might be looking at stage sets rather than actual interiors. Seen this way the paintings might function as representations of a representation and imply the uncertainty of establishing their reality. The artifice is amplified through the interruptions of light and shadow, veiled things, frames within frames, and other internal thresholds, which offer the promise of depth but simultaneously impede this vision. Sometimes, the paintings work to delay recognition on the part of a viewer. More like a dream space, the work, eliding boundaries of real and unreal, suggests that inhabiting an interior is more a psychological than physiological state. Perhaps the works in sequence become cinematic: a syntagmatic succession of images. A narrative may be inferred; it is one that takes place through disconnected, global yet specific and subjectivised places. Experience is collapsed into a moment, a moment is lived by an image, and the image extended through painting.