After this more drawings came about evoking my response to world affairs, as in the Arab Springs or the isolation of Aung San Suu Kyi. The Times (London) commentator Simon Barnes captured the same momentary concentration of an individual’s isolation when he wrote about the English football team’s penalty takers in the European Championship And everything changes. All Movement ceases. Shifting patterns of colour become static. The players stop shouting. For once in this tumultuous arena there is time for reflection the sport is no longer corporate. It is now something to do with individuals.

Similarly, a new drawing starts to create a fleeting and instantaneous trace of that moment in time. My drawings tell the story of a very personal relationship to the world. The pulsating fields of tones represent a distillation of my emotions, whose further evolution is up to the viewer.

At no time are these works representational they are intended to be metaphysical, a response to an event, suggestive, ‘otherness’.

The works suggest legibility while simultaneously resisting our attempts to read them.

Refining myself to a strict syntax, it enables me to have complete freedom to concentrate continuously. Depending on the mood I wish to convey as I draw, so the minutiae of the detailed lines vary or not, given the pressure applied of the particular pencil used. Equally, I sometimes change the style of the pencil. This has the effect of animating the surfaces, often giving a wonderful silvery light.

Different visual patterns occur during the drawing process depending on the lines and spaces, which enables the viewer to trace the journey. It is here that the breathing rhythm begins to come through. Some of the pieces are tonally warm or cool, some have a featherlike quality of peacefulness others are harsh, where the line is tense. It meets with resistance, searches its way through. It feels like I am making a woodcut or cutting into the material like a Fontana painting, other lines are energetic but all asked to be looked at and revisited again.

Working across the paper, like a journey, the eye travels over the drawing often from left to right, receiving different moods from each piece of work.

The all over patterns of lines trace the descent of my hand filling the paper. Various tones and lights weave densely or luminously with silence or stricture of the white lines and spaces across the work. Fine lines, thick lines drawn in pencil, ink, either closely spaced or with more breath, order the pictorial image.

Like my artistic predecessors, I recognise that using the same line opens up endless possibilities. ‘The repetition of a simple act produces work that is more than the sum of the parts’ (Abstract Art since Pollock by Kirk Varndoe)

Influences: Ancient calligraphy, Nasca Spiral, Peru, Brice Marden, Agnes Martin, Juan Usile, Donald Judd, Chinese Art, Eva Hesse, Ad Reinhardt, Ellswoth Kelly, Samuel Beckett, Haruki Murakami, John Cage, Merce Cunningham.