To keep the viewer interested, and to keep the eye moving through the composition, the
forms and compositional devices in my paintings are, in places, deliberately and
provocatively ‘invented’. Ignoring rules of perspective and allowing purely formal
considerations to dominate the ‘design’. Forms are painted not as they are ‘perceived’ but
as they are ‘conceived’.
I make work which is a result of the ‘experience’ I have of seeing the world after having
been passed through various cultural and personal ‘filters’. Each painting is a pictorial
‘equivalent’ for that, a depiction of my memories of that experience.
I believe that painting must always move beyond its subject, and so the mechanics of
painting is crucial to me. Within these paintings the subject itself plays only a minor role. It
is a sub-text to what the painting is essentially about, which is giving ‘form’ to an idea.
One of the oldest ‘metaphors’ for painting suggests that a picture is not a window onto the
world but a snapshot of the mind of the artist. The world at large, beyond the studio, can
take care of itself.
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