People mostly become artists because their most profound aesthetic sensations have come from art works and they want to participate in the dialogue. In a world of proliferating and dazzling visual media, I increasingly value painting for its silence, its static quality, its refusal to explain. My work is made slowly, with many false directions and alterations, and is mostly about locating and condensing a visual idea. The process has moments of great excitement, tension and drama, but also long periods when nothing much seems to happen. I am aware that, when finished, my work often looks orderly and deliberate: I conclude that the tension between this appearance and the uncertainty and emotion I feel while making it must be one of the things it is about.
Since moving to South Somerset in 2007 my work has inevitably become more concerned with the experience of landscape and the seasons. I use the word 'experience' deliberately: I do not pretend to paint landscape directly so much as impression, recollection and a personal mythology of places. This has also increasingly led me to work in groups or sets of paintings rather than towards a single idealised image. I have come to accept that one cannot always be equally happy with all parts of a work: some bits will be dark or incoherent, but that is true both of the landscape and life in general.
Hansel and Gretel - 104cm x 104cm 2011
Happy Ever After - 46cm x 53cm 2010
A Somerset Patchwork - Giclee print: edition of 20, 2010, 56cm x 72cm