My work is often concerned with the texture and consistency of the paint itself, I am fascinated in the endless and immeasurable effects that can be produced through various techniques of application, my preferred methods are to smear paint with a palette knife, or in stark contrast to this; to pour through instruments allowing various levels of control and manipulation.
Through the adoption of these techniques, I aim to communicate the main themes of my work. I am concerned with the continuous struggle for perfection, and humanities inability to ever achieve it, like a beacon of light that draws ever further as we imagine and happily deceive ourselves that we’ve got closer to it. This can vary from anything as monumental as the constant and timeless inner struggle between right and wrong, as individuals, organisations and governments battle with the natural temptations of selfishness, greed and self importance sometimes winning but invariably losing or the fragility of an individual who sits on a train and squints into a compact mirror, scrutinising every wrinkle and blemish and trying to mask it all with a veneer of make-up, hoping to appear flawless and achieve the unachievable, by appearing outwardly faultless.
I feel that the use of my chosen painting methods demonstrate the lack of complete control that we have in all aspects of our lives. My initial aim may be to create one thing, but what ends up being the final piece may indeed be something entirely different, I find that instead of being frustrated with the outcome I am often pleasantly surprised and realise that in fact the painting would have always turned out this way despite my intentions, as this was the way it was meant to be. I find that by embracing this concept, and constantly employing different approaches I cannot be disappointed in my efforts, and as such thrive on creating new pieces.
My main visual influences stem from the work of American artists that were prevalent in the 1950’s & 60’s particularly those involved in the Abstract Expressionist movement, these include - Barnett Newman, Jackson Pollock, Mark Rothko, Robert Motherwell, Clyfford Still and Cy Twombly. Although their work has no uniform stylistic traits, as some of them painted with strict self-restraint and others with apparently uncontrolled and erratic spontaneity, it is their seemingly feverish energy and enthusiasm which draws me to their work.
The art critic Harold Rosenberg wrote of the Abstract Expressionists/Action Painters in 1952 “The painter no longer approached his easel with an image in his mind; he went up to it with material in his hand to do something to that other piece of material in front of him. The image would be the result of that encounter.”
Country: United Kingdom (Great Britain)