Paean to the Sea

The key elements to my work are texture, colour, and line; the appearance is abstract with hints of architecture and industrial landscape. Examples of this can be seen in my body of work called Emerging Spaces (2018) and current work Paean to the Sea. Large scale canvases that have heavily textured surfaces, broken and interrupted with marks created by various implements being dragged through the layers of paint and paper. In my current work I have started to expand and experiment with a wider range of colours, also exploring organic forms drawn from nature as well manmade structures.

Working from light to dark on large, stretched canvases, initially this is a fast-paced process over several canvases. I build them up to a certain level, before focusing on one piece. On average a painting can take up to three months to complete. Between each application of paint, the surface is reworked with wire wool. This helps to knock back areas that are too dense, leaving traces which are then incorporated into the next layer. Following this, water is sprayed to allow the colours to run over the uneven surface, pooling and flowing in an organic manner. The glaze allows the undertones to come through. In this way I am able to build up the intensity of colour and create surface tension. Colour is an important aspect to the work. Blues, yellows, and greens encompassed in expanses of white, creating depth and inviting the viewer to go deeper. Over the years since graduating the work has shifted from sculpture to painting.  

The work arises from the continuous observation of my external environment, using texture and colour to interpret and make sense of the ever-changing landscape and convey it to audiences. These observations reveal the connections between the natural and man-made worlds. As I respond to the architectural elements around me, I find myself contemplating the psychological impact such structures can hold.