"The abstracts are environmental. They're more about my experience of being a human body in the world: colour, landscape, sea, weather, rhythm, minerals, material and sensory perception.
Minimal marks. Maximum thought, instinct and gesture. Each painting becomes a record of that encounter - between intention and accident, control and chance.
PIGMENT PAINTINGS
These large-format works are made directly onto raw, unprimed canvas using ground pigments, inks and inherited, well-used brushes.The process is deliberately pared back. Pigment stains, pools, bleeds and settles into the canvas; the worn brushes bring their own histories and imperfections to each gesture.
Once a mark is made, I work with what has happened rather than trying to completely control it. There is very little between material, movement and surface. I create the conditions, then allow gravity, absorption, pigment and chance to play their part.
COLOUR CONVERSATIONS
Exploring the emotional qualities of colour and mark.
These paintings mark a significant evolution in my practice, embracing a freer and more intuitive approach to expression. Inspired by the vivid hues and luminous light of European summers, bold, vibrant colour combinations and abstract shapes dance fluidly across the canvas. Each piece explores the emotional qualities of colour, focusing on the subtle and often contrasting relationships between hues and the feelings they evoke.
This work reflects both the progression of my artistic thoughts and a shift toward a more expressive use of colour and form.
Colour Coversations, 2023
pigment and oil on canvas 60 x 80 cm
CADENCE SERIES
The Cadence paintings are made on the reverse of mountboard, an inexpensive but unforgiving surface that absorbs each mark immediately. Nothing can be removed. A single gesture can bring a painting alive or push it too far.
I work with pigment, water and well-used brushes whose worn bristles and histories become part of the process. I can choose the materials, tools and gestures, but I can't entirely control what happens between them.
The title comes from the rhythm of making - the repeated movement of hand and brush, the pause between marks, and knowing when to act and when to stop. Each painting develops its own pace and balance through this process.
There is freedom in the uncertainty. The materials are inexpensive enough that a failed painting doesn't matter. I can begin again, learning through repetition.
In many ways it reflects something that runs throughout my practice: I create the conditions for something to happen, without trying to completely control the outcome.