I am interested in the interplay between the ‘field’ and its ‘parts’, between moment and continuity and the observer’s role in the flux of ideas, phenomena and perception.
The enquiry is increasingly vested in the transformative process between observation, intention and making, emphasising continuity between self and the world.
I choose to paint what is immediate and familiar, addressing specific concerns by selection, emphasis and transformation. The modernist tradition is unapologetically embraced, though hopefully without quotation marks or irony. The formal invention and poetic symbolism in Braque’s studio paintings, Giocometti’s emphasising of space by the erosion of form, Cezanne’s elevation of doubt to the status of content and Bonnard’s sense of disquiet are important points of reference as, to a lesser extent, are the second wave post de Kooning painters such as Grace Hartigan. There is also clearly more than a passing nod towards Merleau Ponty.