I see myself primarily as a painter and then an artist. As a painter, I am concerned with the rheology of the change in shape of matter, thus the flow and plasticity of paint. The morphology (shapes and structure) of art making is the starting point, and how one surpasses and triumphs this, becomes the artist’s pursuit.
The subject matter is considered and not coincidental. It is secondary to the rheology of paint, and its application and is based on the progressive understanding of paint structure and technology. This creates a variety of visual and tactile experiences for each painting to engage the viewer.
The historical importance of landscape painting is addressed in my work. Making direct reference to many of the Greats. My wish is to have techniques, perviously experimented with, to evolve in such a way as to progress to a more modern condition with the knowledge of those that came before. The painterly effects of light and colour created by the suffocating atmosphere of pollution, found in industrial and urban landscapes, is juxtaposed with the collection of airy, rural and pastoral landscapes. The use of light, colour, and texture remains consistent in my work. Sometimes brooding and foreboding, other times light and luminous. The work focuses on the ability of painting to tell a story through a single image. It has the ability to be cinematic and theatrical and to move one into another realm.