While I am an artist who does not define my work, there are manifestations within my practice that one can attribute, albeit with a level of assumption, to certain ways of working. My pieces bring with them the feeling of Abstract Impressionism, in some we see hints of Expressionism while the figurative pulls through clearly in one particular series.
I do not title the bodies of my work, nor the individual pieces within them. Instead, I use numbers. Again my aversion to definition comes into play. For me the job of art is to inspire, not to imply. My audience is my meaning maker. The aversion to implication comes into play in Series One: a large group of enveloping works that each convey a sense of incompletion. Each a book with blank end pages; each inviting its viewer to complete the story.
Series Two is markedly different. Flow is present – a relationship exists between the works in Series One and those included in Series Two. Though you might recognise the my hand, yet the latter body is surprisingly figurative.
These emotive works are gestural in their abstraction. Again I seek to convey a strong sense of emotion and, when viewed as a group, it’s as if each piece has a separate character.
Each work brings with it a personal, quite ambiguous, yet raw quality that seems to stand separate from each of its counterparts. Somehow, we feel differently in the presence of each one.
In Series Three I return to a less figurative style, though these works differ quite obviously from those in Series One. It seems strange to say that there is landscape in these pieces – the viewer is unable to pick out any clearly defined scene – yet they bring about a feeling that we are surveying something, though with a particularly hazy, soft-focus lens.
Perhaps it is the diluted quality that these works possess, which is mixed with a number of additional techniques we have not seen in previous pieces, that creates the feeling of texture and distance we find in a traditional landscape painting.