Colour, texture, line and light                                             Back

I have been intensely aware of colour since childhood. It is a foundation aspect of my work. I started incorporating elements of the earth palette in 2001. Prior to that, I used high key colours almost exclusively. I have found that earth colours have added body and depth to my work in a way that Iím very pleased with.

Another major aspect of my work is the use of interference or pearlescent pigments. Again, something I responded to in childhood and incorporated into my paintings not long after I left art school. By 1999 they had become a major part of each painting and I now consider it almost a hallmark.

I work in translucent layers, built up - light on dark, dark on light, light on light etc to create a complex "symphony" of texture, line and colour. I aim for something that is harmomious and beautiful coupled with a strong compositional tension. My paintings can appear straightforward but on closer or repeated observation, details emerge that may have been missed on first sight.

The interplay of lines and of the various qualities of line is also important and can make or break a work.

In the past year I have increasingly been experimenting with texture in my paintings as a way of enhancing my use of reflective pigments and to create interest for the eye.

Light has a special role in my work as a result of my use of pearlescent pigments. Light is both reflected and absorbed. My work looks different, sometimes like a completely different painting, depending on what time of day it is, where is it in relation to the source of light, where the viewer is standing in relation to it. This makes it very difficult, nay impossible, to accurately photograph my work. They work best where there is ample natural light.

For the act of looking at a painting is essentially a visual experience with an undercurrent of sub conscious reactions. These reactions may have come and gone without rising to the conscious level when a person walks past a painting in a gallery. My aim is to hold the eye and draw the mind after it, cause the viewer to think. Then the imagination takes over and landscapes emerge where they werenít intended or any number of associations that are unique to the viewer.

That, for me is success.

9/2005