Pratt's work confronts the established conventions of painting, through an immediate and unashamedly direct indulgence in painting as an activity in its own right, combined with an ethically questionable position of borrowing, remaking and 'wrongful' appropriation. Authenticity, style and the cycle of assimilation that exists both within contemporary art and popular culture are central concerns in Pratt's work. Contemporary artistssuch as Christopher Wool and Paul McCarthy as well as 20th Century artists who reshaped the process of Art such as Basquiat, Polke and Warhol, all become the fodder for Pratt's lexicon. However, rather than paying homage to his forerunners Pratt borrows and steals, walking a fine line between mimicry and imitation. Through this method of sampling and re-mastering Pratt combines stylistic quotation with deadpan observation and dumbmark making, layering and obliterating his paintings until work is deemed at an end, yet never resolved.

"The works engage with frank and simple imagery, they stand as a remark; there is nothing sentimental or 'worldly', just a curiosity into the processes... Each action obliterates the last until the 'right' gesture has the final say. I have no problem recycling the ideas of others; I see this as my viewpoint - to select and covet from the existing to make the new. I see everything as a physical structure; this in itself demands reasoning, a competence to relate not only to its environment but to itself. The idea that a piece of work becomes self-aware and insecure..."