I do not travel far.
Instead, I attend to what is around me: sketches, unfinished paintings, artists’ monologues, and the plants in my studio. Anything can enter the dialogue through which a painting takes shape. Intentions, moods, and observations inform the work as they arise.
I am drawn to small, observed moments: a pot of Earl Grey tea, a familiar walk, connections within my local community. Meaning often resides in these fragments. I seek to record moments of “micro meaning”, brief experiences that might otherwise pass unnoticed.
I recognise this quality in the work of Giorgio Morandi, Roger Hilton, Henri Matisse, and Richard Diebenkorn. Their paintings are direct, economical, and deeply resolved.
My paintings are built through relationships of colour and shape. A restricted palette and careful cropping help focus attention and shape the visual narrative.
The work develops through addition and removal. I introduce elements, then wipe away, scrape back, and rework, allowing the painting’s history to remain visible.
Above all, I enjoy working with paint, particularly oil paint. Through it, I explore the quiet details of everyday life and how they might be held within a painting.
