I want to paint something uniquely beautiful.  Paintings that people can ponder and enjoy, abstracts with mood and emotion.

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Across many media and several decades I've identified a craving to create - and  my exploration of paint provides endless learning and growth.  

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I’ve always had such joy from noticing snippets of ‘unplanned’ beauty I come across, like the deep shadow thrown by strong light, reflections rippling on the surface of water, super sharp architecture contrasting with the organic forms of nature.  By noticing and photographing these things I’ve finely tuned my eye for composition and now my abstract work pulls together balance, colour and light to present that beauty without the constraints of typical physical form.

 

My creative process usually starts with a leaning towards a particular colour palette I’ve been drawn to, and the early marks and layers are capturing a lot of energy and spontaneity - the essence of what I want to convey.  From there anything can happen: each time I return to the work I see it fresh and respond to what I like or dislike.  Working in multiples has always been a theme because I learn across several pieces what's working best and do more of it. Sometimes it goes too far and the result is identical twins rather than siblings, then I have to make some dramatic changes.  But the result is often a cohesive body of very satisfying abstracts with plenty of room for interpretation by the viewer, each of whom see the work differently.

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I feel there may be future work with more social statement on the artistic horizon. Justice, fairness and a deep-seated sense of the need for equality are issues that arise frequently in my considerations.  "The current work is about looking forward, enjoying tranquility and achieving harmony despite clash, contrast and the difficulties of daily life."

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Below are examples of the type of photographic 'sketchbook' alternatives that I feel strongly inform my choices in the creation of new abstract pieces.