Our fingerprints are the first marks that we make and we continue to leave them everywhere we go throughout our lives. At an early age we learn to use pencils and leave other marks. These first scribbles were important to us: they were dogs running, houses or family members and our imagination filled in what we could not draw. We were not worried that they were not perfect resemblances. Sometime latter we started to worry that our drawings were not photographic likenesses and we became shy of making those marks.

I know that a drawing is just a series of marks arranged in such a way that it suggests a likeness to something familiar. I believe we can all draw: if we can write then we can draw. The wall is a visual story about drawing and making marks. I have used the brick as a canvas. Brick unites humanity across the world: its significance lies within its universality. Making art unites humanity but is defined differently in different places. The brick represents intimacy as in homes or anonymity as in vast cities. The brick is not pretentious, it is ceramic, it is universal and is familiar to all people. It is democratic and accessible; an object everyone can relate to. This is how I want my art to be; accessible to all.

Artists are practitioners: art for me is about practicing. The process informs the outcome as the marks are intuitive and I use glaze as if it were paint however the glaze is more permanent than paint. I use photography and printing methods if they can leave a suitable mark.

The context of the wall is ambiguous. It could be situated in a gallery as if it has been ripped out of a city landscape. It could be as a commissioned internal wall of a restaurant or it could be in a public space. I see this work as widening the potential of ceramics. I see it as urban art; I see it as a painting that has come to life; a living painting that invites interaction. The wall is not finished: it is an open dialogue waiting to happen……