My practice is rooted in an instinctive need to indulge in the act of painting and a materialist love for the medium and the objects resulting from its employment. My paintings can be considered products of necessity and desire – the act of painting fulfilling a fundamental creative need, and the completed work delighting in physicality. I openly employ painting as a means to improve my experience of living. The honest truth is that I need it in order to be happy.
My paintings stand on their own merits, living or dying by their visual qualities. They are humble material constructions made for their own sake. My hope is that they may manifest something of an essence of the grand tradition to which they belong and to this end I strive to produce objects that, in their fabric, embody qualities singular and unique to painting.
My present line of enquiry is into the balance between a formal, measured, reductive composition and an open, painterly construction. Much of the joy I derive from of using paint is in allowing it to behave the way it wants to, and revelling in its natural form and flow. I seek to allow the medium an autonomy of movement whilst still making work of a clear, orderly geometry.
Creativity is a flighty thing and despite spending a good deal of time and thought on crafting an explanation, it remains resistant to definition. I can describe how I work and what I make now, but inevitably things change, grow and develop, therefore in terms of a universally defining statement, the best I can say is this: Painting is deeply personal and important to me and is inextricably bound up in my own life and history. I find it an overwhelmingly positive experience both in terms of indulging in the creative process and then regarding the resultant object. If looking at the paintings I make proves a positive experience for you too, then you already know everything you need.