Most of my work is in 'series' or 'sets', groups of varying size with a common theme. Sometimes the links are to do with media, sometimes locations or subject matter. Often occupying my attention for a few weeks or months, and maybe returned to years later. It is sometimes only in retrospect that an objective understanding of the work becomes more apparent. While involved in the flushes of a new idea with an intuitive response it is neither possible or desirable to know exactly what you are doing.
Working with most two dimensional techniques, often in combination, ie, drawings from photographs, or drawing on photographs, or photographs of paintings, creates a situation where any work can be subject to intervention at anytime. This makes for a working process with great freedom and allows decision making to take place continuously. The more decisions that are made in a work the more successful it is likely to be.
All art should 'speak for itself', whether a Mozart concerto, a Rembrandt painting or a Frank Lloyd Wright building, all that is required is a period of attention from the senses. That is not to say that any additional information is unnecessary. In the case of visual art simple facts are required in order to place the work, eg., name and dates of the artist, size and media together with any title conferred on the work by the artist. Bearing in mind that an artist often only gives a work a title in order to identify it once it has left his hands, and not as some poetic addition.
Any semiological deconstruction should be considered with great suspicion, as any verbally communicated notion of a work will inevitably leave 90% of the work disregarded. And if too much emphasis is given to such objectivity the chances are you will only get 10% of an artwork.
My work is easily accessible, a word which is sometimes used with derogatory tones, I have always taken the observation as a compliment. No point in being obscure for the sake of it, that would be too easy. In much the same way as sticking to a recognized style throughout a lifetime's work, again too easy.
I have often tried to make my work deliberately diverse, changing from one activity to another, if the last work was small, the next large. If colourful, the next monochrome. If abstract the next with subject matter, if a period of intense activity then a period of relaxation, etc.. This attitude has proved productive over many years, with it stimulating new ideas in a steady flow.
These notes are 'off the cuff' and intended to enhance the viewing of the illustrations on this website. If you can think of anyway to improve the site, or would like to ask any questions, then please email me on the address below.
Thanks for your time.
Images in both painting, drawing and photography from student days in the 50s through to the 60s, 70s and 80s. Not in anyway representative of the period, mainly gleaned from scrappy pre-computer records and the survival by chance from various sources.
Works mainly from photographs up to A2 size. Subjects, doors and windows of Spain and France. Pen, pencil as well as watercolour are used in most of the work.
Mainly large scale works up to 150 x 110 cm. Circa 2007
Works on canvas up to 150 x 150 cm Circa 2004/5
A series of images taken at dusk, when the daylight is balanced with the artificial. Often bringing colours that are opposed to each other, blue and yellow, cool and hot. This requires taking pictures in a very short time gap often as little as ten minutes each day.
A series developed during 2006/7 from drinks cans found by the roadside during daily walks. Sometimes 'straight' photographs, sometimes the photograph added to by drawing or collage, sometimes the can itself embellished in a multitude of ways, eg,nail varnish, glue on textures, and on occasion deep fried in batter!
This series is a collection of photographs that are link by the fact that my immediate environment is near the sea and also a nature reserve containing fresh water lagoons, once used for rice growing. Also where the fresh water drains into the sea. The transparent nature of water gives an immediate affinity to lens based activity.
Taken over many years. A subject with a continuing fascination.
Documents of flowers and plant life near where I live.
Views of an English garden taken through a window over about two hours.