I want that uncertainty and ambiguity in the viewing experience.
Colourful twisted forms unite in playful pattern-making in my works. The canvas becomes a place where the figurative and real collide.
“Before I start to work on a new painting, I have a clear vision of its motif, colour and its form. However, the process of painting itself is the chance to lead me to a point and solution that I could not have thought of in advance. Forms evolve, the painting grows and acquires a life of its own. Sometimes, the painting is finished when any trace of the primary idea has dissolved.”
I paint on unstretched canvases pinned to the wall. This suits my technique, which is increasingly built on layering several colours and then scraping them away to create singular patinas on the images I tend to depict.
For me, drawing and painting are both journeys through layers. My paintings are intensively worked, scrapped back repeatedly and re-configured, looking for something that is unified, full and ordered.
Current works are semi-representational and attempt to capture moods and emotions conveyed in the most reduced terms possible all while toying with the playfulness and perceived seriousness of painting.
I paint in bold, pulsating swirls of colour that teeter between figuration and abstraction drawing inspiration from such disparate ideas as social media, hard rock, neural networks, blockchain, poetry, all varied interpretations of interconnectedness.
The topics that I’m interested in are often very personal and so these fragments are all chosen with a kind of hidden meaning. If I reveal why I am interested in these things, it cuts the meaning down and narrows the scope for interpretation. I need to have that emotional connection to the fragments and I hope that that is communicated, but that is up to the audience to decide how they interpret my work.
But mostly I want the viewer to be drawn in and hang around in this space of questioning what they are seeing. I want that uncertainty and ambiguity in the viewing experience.