Pigmented substances are engaged as elemental and reactive; presented with scale and action. The process of making these artworks is not hidden but remains a prominent aspect of the completed work.
Mine is a collaboration with media and natural forces which involves a balancing act of technical skill - gained from focusing on the medium of paint over two decades, and a respect for the media by partially or totally giving up control to invite it to do its thing.
The painting offers reference to paints primary fluid intelligence and dynamic state. By the time the painting comes to rest as completed, it has been produced to a lesser or greater extent by its own kinesis. It eventually becomes a static record of a once ephemeral event, the subject matter being the circumstances of the creation of the painting.
I experience the circle as a primal and potent form that appears across all cultures, having a global reach and offers a portal into my artworks. The recurring fluid-circle motif has become an identifiable and recognised signature in most of my artworks.
The imperfect circles in my work allow for variations and represent “evolution”, celebrating that no two circles are the same. The circle feeds back into itself, looping, informing itself, repeatedly, cyclical, endlessly evolving, within fields of possibilities.
I choose to believe in my own process, and my way of creating art. I have to be comfortable knowing that what I do as an artist is the right way for me.
There is always the element of chance. I have experimented and honed techniques over years, however, the outcomes are predictably surprising due to even the smallest variables. I enjoy both what intended and unexpected methods bring. Painting in this mindset allows for ever-expanding outcomes.
The purpose of the act is for the paint to engage and respond with the environment and momentary conditions on the canvas surface to reveal the essential qualities of the media - this I refer to as the behaviour of paint.