Any artist who was a child between 70 and 85 will attest to having gone through their Giger period. Mine began upon seeing 'Alien' on home vhs sometime in 1980, and didn't really bare fruit until sometime in 2003. The Biodegradables-(: or biomechanics and degradation combined-geddit?) had their origins in Gigers morphic automotons, my own existential angst combined with the decaying shipyards of my Liverpool home town, and what is in retrospect an early projenitor to Steampunk.
As immediate predecessors to the mythical transience of the mermaid paintings, it was all very telling, and I really ought to have continued tapping that vein, because I could have been inhabiting the same demographic as Chris Mars by now,(yeah,right) but as is always the case, the need to make money won out.
Sadly, the series was shortlived, to the point that there were only four paintings ever produced. One of those pieces-'Mothers Milk'- tackled the same themes in a majority of my art-that of origin-in this case the notion that we are all contaminated from conception, through predisposition of our genetics and those of our surroundings.
For all their obvious derivation, of the countless pieces I produced in the early noughties, the Biodegradables still stand up for me as works I'm really proud of.
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