Most of my work of late has been landscape based. I have recently at times included the human figure. I don’t consider these works portraits; rather the figures are stand-ins.

My oil paintings are done in the studio from my own photos. I often take photos of my rambles and pore over them to find images that intrigue me. I use them as a reference point. They are more about the ‘idea’ of landscape. 

My body is the frontier between what I see and what I experience. Just as my mind filters and interprets my experience, so the camera filters and interprets what I see. The photos are an intervention. When I paint from the photo, I reinvent and reinterpret what I have experienced, where I have been, what I have seen.

As I work and re-work the image it is re-embodied, and the meaning of the experience is both exposed and buried in the layers of paint.

I often juxtapose the built environment against the natural, wild environment to create a taut dynamic composition. I see the built environment as an intervention in the natural world. Tension is heightened with the composition contained and restrained within the edges and shape of the canvas.

This dichotomy is also played out with the struggle between the image and my painting.

My abstracted work often references the natural world while my landscapes are usually informed by the memes of abstraction. The formal aspects of my work are as important if not more important than the content, or image. The image appears and disappears with the intuitive and instinctive responses to the paint, allowing the work a life of its own.