1 What is/are the primary reason(s) for you to make work in the first place?
As a mode of exploration
2 What do you intend your work to convey to an audience?
A painting exists as a thing in itself, an object, as much as it is the semblance or image of something else. I am interested in this relationship between the thing and the image, between paint as matter and paint as image.
3 Why do you work in your chosen medium and format?
I work mainly with oil paints for the directness of expression, and the pleasure in the paint.
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
I work with oils, laying the paint down, moving it around, trying to find a point where the paint forms an image or has the illusion of being something and yet collapses back into being paint. At one level the paintings are an expression of this fascination, what paint is capable of, its ability to seduce through illusion, to be something other than itself and yet simultaneously be paint/matter. There are instances in the process of painting which particularly interest me, when paint has been mixed and through happenstance and editing has created forms, which are complete in their ‘objectness’ or convince as definite ‘things’ but are not recognisable. These forms are made in a gesture, in motion, rather than by incremental addition so that the action is the form.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
Baroque, surrealist (particularly Max Ernst). The detail of the landscape and plant forms in early renaissance painting, 16/17century portraiture and illusion of fabric, leather, lace, swags which collapses back into paint at surface level.
6 What stimulates/informs your work from the world around you?
Fluidity of matter and the emergence of form in the ‘natural world is interesting to me. How matter changes its characteristics depending on what 'state' it is in. The carbon atom becomes diamond. Water to ice. The separation between organic and inorganic and the divide between living and dead.
7 What stimulates/informs your work from your own personal experience?
Everything I expect
8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
Source material is the world in general, experience, images, knowledge. I regard painting as a form of thought , a process of the intellect ..which works through the process of painting.
9 What are the main problems that you face in making your work?
The work is fairly labour intensive…I always need more time.
10 Where do you intend to take your work from here?
Maybe away from the metaphorical.