I see my creative path as being one with no absolute destination – the process of creation is as important to me as the result.
In my work I often like to explore the tensions between chaos and form – and how chaos can break up stagnant forms into something more dynamic, or how form can bring beauty out of what was inchoate. Thus, sources of inspiration might include city encroaching on country and vice-versa, the dynamism of volcanoes, oceanic tides and so on. However, as the creative process for me mainly comes about via a process of psychic automatism, so that it is guided by an ebb and flow of subconscious impressions, both inner and outer landscapes tend to be superimposed upon each other in any given composition.
My pieces may be layered, worked and reworked again, so that an inner alchemical process runs through as a theme in all my works. This means that each piece is further altered and refined into something very different from what it might have been in the first place. I have sometimes used materials that might otherwise be perceived as rubbish – glass crystals from broken carsbuildings, gypsum, melted polystyrene and so on.
More recently, I have also used metal foil, geometrical shapes cut from older collages, clay in which patterns can be imprinted, and cracked paint. The layers of my works often represent memories encoded in newer and older layers, adding more and more complexity to each surface. The layers are also intended to create a sense of age or erosion within my larger pieces.
I especially prefer to work with translucent and reflective surfaces where the shimmer of gold, silver, copper or iridescent paints capture light, sometimes alongside glass andor beads. This interplay infuses my works, being interactive with the environment and the effects of light.
My abstract drawings are sequential in the way that a musical composition might be.
My life drawings seek a more accurate likeness of the model in terms of proportion and pose, whilst imbuing each image with my own, unique style.
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