My work focus’s on the formal elements of visual language and the act of looking and responding to our world. Working in acrylics and oils I explore shape and colour juxtapositions, together with repetition, creating pieces that evoke pictorial realities of stability and instability. Time and the wide variety of ways that one can evoke the passing of existence is fundamental to my practice both in terms of exploring layering and decision making but also with regards to the cause and effect of human history and geological forces on the Dorset landscape.

The act of producing an art piece is wholly absorbed in the process of creating stability from an unstable situation. Only when the piece is ‘completed’ does there appear a resolution to the striving. I am endlessly searching for stability – responding to visual and personal experiences – the tenuous nature of reality as seen through psychology, geology etc and hopefully fixing something, that in life would only be appreciable for a moment. 

The placement of shape and colour and the decision making involved is basically a demonstration of an understanding of magnetic forces – the push and pull of juxtapositions of hue – the opticality of colour and how colour behaves – their shifting relative weights and tensions. The range of hues, tones and shapes have a magnetic relationship of attraction or repulsion, which creates movement in one direction or another. I, as the painter, is acting like a composer of a symphony or a pop song. This means that sometimes, in order to understand the character of one hue and the next, one might have to transfer meaning from one to another. This is a difficult and organic process because to really discover what the colour and shapes want to do, one might have to go against what they at first appear to want to do, and then they start to resist and you have to use other forces to see what they are really feeling. One is dealing with something that is chronically volatile, like lava, except that there is the age old issue of illusion of space, weight, form and the physical reality of paint applied to a surface. The resultant paintings are comprised of increasing complex interconnected shapes, precariously balancing or pressing down upon other forms.