Monday, 23 February 2009
My paintings are based on a discourse of forms I have evolved, with which I employ to create the sense of a world-in-motion; the insinuation of a narrative helps me to achieve this. The narrative is indistinct as a consequence of the language hinting at something fundamentally human, fleshy and muscular but which never resolves itself as such. I arrived at this point by simultaneously, but with clear distinction, becoming engaged with the separate ideas and elements of abstraction, and of figuration. Gradually theses two entities have fused resulting in my current language, which is not a foregone conclusion but something that will undoubtedly continue to progress, develop and diversify. I use drawing as a tool whereby I develop my ideas, exercising and refining my current practice. These sketches become pictorial elements that become the catalyst for, or are directly embedded into the painting. My realisation of a painting has become routed in obsessive manipulation. I am interested in repetition and the frequent overlay of ideas, the canvas acting as a kind muddy backlog that can be stripped clean and re-effected. This archaeological approach I am developing at present enables me to sustain my practice and enable new discoveries within paint.