I’m interested in the act of painting itself; the way paint behaves and how its abundant material properties – wetness, transparency, grittiness and smoothness, abrupt transitions and incremental ones, quiet and loud moments, and so on – have the potential to communicate directly.
Having established a colour palette to work with, I typically explore the surface through roaming linear drags of paint and half-purposeful amorphous forms. In a strategized form of risk-taking, I only partially know what my hand is about to do. Perhaps surprisingly the tactic doesn’t usually lead to incoherence, but when it does (as is inevitable from time-to-time) it places me in a new position where I care very little, which is useful in moving the painting forward once more.
After this comes a more reflective period, when the painting stays in the studio while I wait to come to terms with what I’ve done and consider my next move.
The current pictorial language of meandering gestures which run around and through indeterminate organic shapes, establishes multiple spatial relations, in which forms appear to inhabit deep recessional spaces whilst simultaneously asserting their place on the painted surface. I’m wondering if these are analogous to places of departure and arrival? They certainly have a relation with the semi-conscious workings of my mind.