Some of my work is more purely abstract, whereas some pieces are developed more directly from observations and impressions. This pair of paintings – worked on together and designed to be shown individually or together – are an example of the latter. Ongoing work is similarly influenced by the local landscape which is a rich source of inspiration, colour and form.
Now that the sale is over here are some images of the postcard sized paintings that went to the John Hughes Arts Festival event. I enjoy the challenge of working to a brief, which can encourage me towards new directions for my work. In this case it was liberating working to a sketch book scale but outside of a sketchbook format and allowed me to test out a format and palette for a pair of paintings I’ve been mulling over for some time but hadn’t yet started (which are now being worked on). The small format also allows me to easily play with displaying them in different configurations relative to one another.
After working on Winter Light 1, 2 and 3 which are designed to be shown together or separately I developed some pieces specifically as triptychs. I am also planning a much larger series of pieces that can work in combination or individually, as well as some larger landscape format paintings, but in the meantime I’m enjoying the quiet strength in the number three.
These paintings continue to explore mark making directly onto hand stretched raw canvas by dripping and/or painting and/or scraping emulsion paints. Each triptych consists of three canvases that are 41 cm wide by 31 cm high.
I really enjoy making pieces with people or places in mind. This pair will be going to Manpreet and Ashley in January. Best shown together they could also be hung separately.
In this work I’m continuing to explore working directly onto untreated fabric. I’ve chosen to stretch coloured cotton so that the canvas is more obviously a part of, rather than read as ‘only’ a support/background to, the painting. Each painting is 33cm x 22 cm.
I recently made a series of paintings influenced by the impressions left by winter light during walks. I chose to develop these paintings on raw canvas that I’d stretched, making the mark-making all the more vital as mistakes can’t be painted over.
Each painting is 50cm wide and 40cm high. My intention is that they can be hung together or individually. I’m delighted that one of these will be shown at Hot Numbers from 12 December 2017 until February 4 2018.
It’s always difficult to know when an artwork is ‘finished’. I need to keep some paintings around me for a long time in what I know is an unfinished state before it’s clear to me what I need to do next. This painting was originally done for an exhibition at Espresso Library in Cambridge in response to the space there; however once the exhibition was over I knew I had more work to do as I kept dwelling on the work, itching to make it feel complete. This is the final result.
I’ve been having fun working on a new commission, in this case adapting a couple of the pieces that were shown at Espresso Library from mid-May to early July. I’m really pleased with how they’ve developed in response to how they’ll work alongside other features of their future home, taking on more vibrancy and movement in the process. I think they are at the stage now of feeling ‘finished’.
The images below show some close-ups and the piece(s) as they currently stand on my ‘work in progress’ wall which is just over 2m wide and is directly in front of my desk. A good use of space, this allows me to contemplate about how work is progressing while seeing it in a domestic setting, which I find extremely helpful… and shows that you really don’t need a lot of room to be able to enjoy art that can make a real statement and transform a space.