Thurs, Fri, Sat 10-5
My work is subjective and abstract and I make paintings of seascapes, landscapes and figurative studies based on what I see and experience around me. I draw using scribbly, gestural lines to capture the character of what I observe. I paint loose, expressive images and I apply the paint by splashing, dragging, printing, scraping, dripping and pouring with or without brushes. When we look at something or experience something, there is an inner reaction to that sight or experience. The inner world is rich with memories, words, symbols, associations, beliefs and notions and I draw on these to depict the sights and experiences around me. The work is abstract because it expresses abstract ideas. The objects, people and scenes I observe are portrayed through the filter of my life experience and my inner world.
My inspiration comes from what I observe around me. When you look at my work, you will get a sense that something is familiar but altered. You will recognise places, people, symbols or objects but also find gestural squiggles, lines, scratches and forms. Feel the wind on your face or the warmth of the sun setting. Sense how small you are in the great expanse of nature. We share universal feelings but we are unique and we bring our inner world to what we focus on. Viewers will relate to different aspects of my work, just as when you read a story, you interpret the characters based on your own perceptions. Photos and sketches trigger my memories. My source materials have personal significance to me. I have a collection of memorabilia and work with items and images that are relevant to me. When I create, I pull the work out of the internal place of imagination and life experience. There is a creative energy which I can feel and when I am in the flow, the work emerges and takes shape.
I work in mixed media – oils, acrylic, collage, charcoal, oil pastels, pencil, ink. My printmaking training has influenced the way I apply paint with elements of mono-printing, stencilling and engraved lines incorporated into the layers I put down. My works are on stretched canvas, wooden panels or watercolour paper mounted on canvas. I work on a series of paintings at the same time, each painting influencing the other. I might walk and sketch and then build on the sketches in the studio. Other times, I look back through sketchbooks or start by making marks and putting down layers and the images emerge. I build layers, tearing, cutting, splashing, laying down paint and scraping it back. I put down and I take away and the work goes through many stages. Periods of intense manipulation are balanced with moments of quiet reflection when I edit and refine. Creating the work is a dialogue and I often write notes on the image as I work through the process. Most of my paintings have a cool blue and a warm yellow in them but I choose the colours according to the subject and the feeling I want to evoke. Colour is seductive and I can taste when the colours are off, so colours go on and get covered up as I experiment with getting the right ‘flavour’. The traces left behind are a part of the story and give the work substance. Colour is just one aspect in the abstract ‘toolbox’ and I am constantly adjusting the many aspects such as texture, composition, line and marks to achieve the right balance and to make work with a sense of presence, intimacy and power.
Papa - £395 - 33cm by 33cm
Harbour 1 - £315 - 23cm by 23cm
Harbour 2 - £315 - 23cm by 23cm