On Painting: Scraped and Brushed, Pulled and Pushed
My painting is from a series of divergent strategies. One of building - the other of reducing. I do not believe that these approaches are counter-productive, quite the opposite - to continue covering the approaches of others - a purely reductive approach would essentially lead to nothing. (please note: nothing has already been done)

By using the medium as a viscous element, I feel that the; building, tearing down, and rebuilding is the true core of what painting is and should be. The image making that comes from this strategic approach to the true core of painting production will be clear, concise and rational. I would be foolish to believe that the end result would be dull or repetitious.

Approaches to this would be open to many interpretations and styles of image making. Clearly abstract approaches are largely the foremost concern, however figurative art could also be highly impactful. I am currently using a square or rectangle as a "unit" or "element" to the overall image. They (the elements) are clear and rational "building blocks" to develop future forms.

November 2006

 

My work is concerned with space, compression, volume and sentience. Working within structures (or superstructures) I have developed a visual system to explore these ideas within a framework that allows a departure point for further exploration. I believe this departure - from strict formal codes allows an informal precision that can highlight the variety, complexity and questioning nature of painting as well as offer a further approach to reductive image making. This open ended approach is core to the images I create and allows them to be handled with the same approach - a non-specific exactness.

November 2005