My current painting practice is studio based using experiences and recollections from remote locations with little regard to topographical landscape or specific constituents.
Having formerly valued the importance of direct observation drawing to support my painting I now prefer to allow memory and imagination to fuel a more creative response.
I am particularly attracted to harbours and estuaries; fascinated by the channels of water, lines and shadows, shapes and textures associated with tidal changes.
A recent visit to Venice triggered a series of paintings in response to the architecture which revealed layers of changing colours, decaying irregular walls contrasting with the clean lines and angles of more recent decoration.
Relying on my memory bank of impressions my paintings begin with a conscious selection of colour and initial gesture or mark. From that point onwards I work instinctively. Each painting continues on its complex journey, asserting, veiling and obliterating using mainly acrylic paint combined with a variety of media.
The painting’s journey is usually complex, undergoing dramatic changes sometimes taking weeks to resolve.
I work primarily with acrylic paint and interactions with ink, charcoal and oil bar applied by hand, rag, brush or stick.