My dot art is made by using coloured dots produced by a hole punch, and painstakingly stuck on, one by one, with a pair of tweezers. This idea came from the works of Georges-Pierre Seurat, studying his pointillist paintings from the late 19th century. My collages are made from magazine articles relevant to the subject of the picture.

My work, whether dots or collage, have similarities in progress. Based around art-critic and teacher Charles Blanc and chemist Michel Eugene Chevreul's theories of optical mixing, colour placement and colour relationships. Colour excites me, and use of it is critical to the success of one of my works.

Whatever the medium, my goal is to create two experiences for the viewer. The first is a close up experience of either thousands of tiny, mixed up coloured dots, or readable magazine articles, which in detail intrigue in themselves, but may seem chaotic and to have no order to the viewer at this distance. The second experience is the far away view, the viewers' eyes and brain mix the dots/articles/colours together, revealing the relationships of the details and the image as a whole.

My choice of portraits comes from an interest in faces, in the biological form; bone and muscle construction, sociological, expression and individuality. Most of my work is based around my love of motor sport, predominantly Formula One, for which I have a huge passion.

I have been working with these mediums now for about three years. I am obsessed with attention to detail, and I am meticulous about every dot, every piece being in the right place. I work for ten to fourteen hours at a time, through the night to optimise concentration.