Graham’s paintings are interrogations of the photographic universe. This study examines ideas of relevance and significance, and in the broadest sense examines the power implicit in the photographic apparatus. Surveying shared visual imagery and translating the multiple into the single, Graham’s practice is a wilful slowing-down, against mindless consumption, and maintains that where we direct our attention is a political act, one that can be an act of resistance.
Producing handmade pictures that will probably outlive their maker is a meditation on the transience of life. Disparate imagery is redeemed by the language of paint. The distancing engendered by diverse imagery creates a sense of stalemate. Rather than frustration, the intention is to promote dissonance and an open-ended potentiality, where meaning or narrative is not fixed, but created ontologically.