Over the last decade, my work has moved in cycles from very simplistic use of colour applied spontaneously with the inclusion of architectural imagery through to a more sophisticated and planned approach with a strong relationship of compositional elements.
The stimulus for the work is a vast collection of visual memories and experiences of feeling absorbed when visiting various places. These include, for instance, architectural surfaces, peeling billboards and old boats whose rich textures and time-worn qualities provide intrigue.
It is the ephemera, which trace a person’s existence by the surface marks that remain, which I find fascinating. Often, I feel that it necessary to incorporate found and everyday objects, unmodified into compositions to create a sense of perspective.
My main working method explores a process that could be compared to a type of artistic archaeology: the oil paint is physically layered up and selectively rubbed back to reveal previously worked areas. There is graffiti-ing of contrasting materials and exploration of diffused surfaces. Spontaneity with stencils and spray paint is paired with an in depth use of collage.
My desire to display an uninhibited process of manipulation and transformation is paramount. Innate colours are used expressively, reliving experiences of once visited places, moods and feelings.
When asked to label my practice, I find myself describing it as painting but in reality, I would prefer to consider it to be about my passion for process by experimenting with a wide selection of media, materials and techniques.
In many ways, I would regard my work to be of an abstract nature but more recent pieces are reflecting a growing interest in elements of shape and form. I have begun to experiment with a combination of oil and water based media as well as multi layered collaged fragments.