I was born and grew up in North London in a thriving artistic household. My father was a painter who was the son of the marine artist Norman Wilkinson. He met and married my mother, a fellow art student from the Byam Shaw Art School, where he taught for many years. My other grandfather Hugh Pawle was a successful stained glass artist with a busy studio in Circus Road in St John's Wood. Both my grandmothers and many other relations were also artists, including St Ives painter Margaret Mellis and the potter, Anne Stokes: this proved a fertile environment for a unique, if slightly overloaded, visual upbringing.

Following an early career as a professional soldier then in business I eventually succumbed to what the family call 'art disease' and graduated from Central St Martin's College of Art in 2005 to embark on my own career as an artist. I am passionately interested in landscape and the figure and they are starting points for much of my drawing, sculpture and painting; but whilst providing the point of departure, they are not always the destination.

I have refined my own interests by combining desire for authenticity with belief in the unique nature of visual art as a means of communicating and investigating the sensual, intellectual, emotional and spiritual struggle with which we are engaged. My desire is to frame this optimistic expectation within the context of contemporary practice while remaining wary of narcissistic and self obsessive elements of some post modern and conceptual orthodoxy.

In much the same way as abstract art was the point of liberation from the task of representation brought about by photography, the omnipresence of digital media and images has created a thirst for authenticity and physicality in visual art. The infinite and parallel universes of digital existence pose special questions for the artist about our notions of appearance and reality. This question of appearance, and our attachment of credibility to it in spite of learnt experience, is at the core of our obsession with illusion and disillusion. I seek to achieve a synthesis of the dialectical relationship between what is seen and what is hidden.

Our desire for appearance to be reality and indeed our preference for it is constantly subject to attack and revision in the light of what we perceive as rational experience, pointing to a deeper yearning for a higher and better state of being. The pencil, brush and chisel are for me the essential tools for creating work which is humble in aspiration, human in execution and invites a physical engagement with the real object. Whilst my work includes drawing, painting and sculpture, my concerns are with space, texture and volume, and exploration of landscape not as concept or cliché but as desire.

I often create paintings and sculpture in sets of two or more to pose different questions about the same idea. Sometimes they place the viewer as intermediary but sometimes not; either way the viewer participates in and helps make the work. I draw from across all streams of Western culture as well as the Islamic world where I have spent a lot of time. I love the integrity of Western art and am proud of its achievement. I am grateful it is a tradition of which I form a part.