New Works



During the last two years I have been focused on creating a new body of work which is physically smaller and perhaps more intimate than much of my previous work. My work continues to evolve as I seek new approaches to articulate a challenging and complex creative vocabulary.

I’ve always considered colour and construction to be the most important aspects of my work and the small jewel-like oil paintings illustrated here, have had layer upon layer of paint on them, intersected by scraping, sanding or scratching between some of the layers.

The work is slow due to the drying time between each layer. Working this way makes the painting very organic. Shapes, textures and wonderful colours appear through the sensual pleasure of the paint.

photocrati gallery

At the beginning the application of paint is carefully orchestrated. Sometimes the first layers are poured on top of each other, or brushed on in layers leaving a history of the brush mark. As the painting develops, more sections are over painted. Some sections may be peeled back to reveal more layers to expose the story of the painting’s own production and depth.

As I work from left to right with the brush, I am aware I work with the rhythm of my pulse and feel an affiliation with Paul Klee. Paul Klee in his poem wrote ‘one eye that sees/another that feels’.

The surface of a painting is important to me, as I want the viewer to see the

construction of the journey. Many hours are spent on blending and making colours to echo my intentions, because colour is always rooted in a particular place.

For instance, thin lines of uneven colour painted against thick bands of colour try to communicate this liaison and voyage between seeing and feeling in both senses of the word. I am fascinated by building facades and patterns found in buildings and the spaces between buildings.

Train stations fuel my imagination from the line tracks, grids in the underground, chevrons and the ideas behind the hustle and bustle of

journeys. Travel, newspaper cuttings, the title of a song may trigger an idea, or simply looking out of a window on a dark night and seeing vibrant bands of colour on the fields in the moonlight.

As a painter, I have always had stories or captured scenes in my mind?s eye, inspired by my observations linked to memorary and remembrances of things in my own life, which I bring to my work.

By building up landscapes of images through construction, mark making, use of different paint applications and colour, I am taking the viewer on my present day journey.