As a visual artist I am obsessed, not with intellect and concepts, but something more visceral. My work is nothing more than a response to the world around me and an honest attempt at creating something unique. Ideas are born out of an individual appreciation of both the dramatic and the mundane in literature, music, folklore, even a brief conversation with a complete stranger can create the spark of inspiration (the idea for the ‘Old Soldier Surrendering’ came from a conversation with an ex-serviceman from WWII, especially his parting comment, ‘we’ll all have to surrender someday’.
My work is figurative and, unless i'm life drawing, I work mostly from memory or knowledge I have retained about the figure. I certainly work from a more intuitive starting point than the more formal approach of recent years. I’m now comfortable with the way light can change the architecture of the figure, clothing, or a landscape; I can invent shadow and lighting and it can all happen intuitively or without too much planning as a project progresses.
Drawing for me is, and always has been the most important part of the creative process. The ease with which ideas can be explored, developed and played with before being committed to canvas makes the whole process invaluable. So like many visual artists it is with paper and charcoal or sketchbook and pen that ideas are collected, explored and begin to take shape.
Characters and figures within a composition are contrived to create relationships, intrigues and tensions through real or invented narratives. This is a two dimensional world rendered conventionally through drawings and paintings exploring human interactions, dealing with universal notions, successfully or not, of pathos, loss or belief, whether that belief lays in a faith, a song, a poem, or a folk tale is irrelevant. I strive to create a body of work that will hopefully inspire a dialogue with the audience, even if that audience is an audience of one.