I was born into a family of fine art picture restorers.
I learned a great deal about the histories and techniques of the old masters from my father and uncle during my own apprenticeship with the family firm.
I hadn’t really encountered “modern art” until I went to St Martins school of art in the early 1980’s.
Coming from a traditional background, this was at the time quite an eye opener, and a process which at the time, I seemed to react against.
Fast forward 3 decades and I still have a certain ambivalence about many aspects of contemporary art.
I am anchored in the belief of the quality of the making, being the true value worthy of pursuit. That “quality” is not always easy to define, but is usually recognisable when seen.
Fads come and go, and I generally ignore them.
I believe that ones first job as an artist, is to be yourself.
Influences abound everywhere, and I am keen to temper these into my own approach.
This sometimes takes many years.
Currently, my works reflect a period of hard editing.
I have boiled down the basic aspects of my subject to produce paintings that are simple in composition and dynamic in content.
I have lived in Australia for 20 years now and having been drawn here by the amazing volume of light. I feel confident that I am finally able to make some sense of it, on canvas.
The current body of work centres around a favourite place, Treachery beach. It is a place where I have been camping several times and it represents an ongoing love of the Australian landscape.
For some time now I have been drawn to making images that relate the landscape to our human desire to build. I find that there is something quite compelling about the collision between rhythmic nature and applied geometry. In the modern eras, we have measured the strength of our ‘civilisation’ by its architecture. in its most basic form, almost all nature is organic and rhythmic and random. Whereas almost all man made structures must contain some fundamental geometry in order to be structurally sound. It is these two polar entities that inspire my painting. In the visual arena, these elements often collide, or collude, depending upon the composition, and therein lies the crux of the issue.
In my recent paintings I am employing these strategic elements to set up a slightly surreal scenario. I want the landscape to be deployed in a non rectangular format, in order to break up the picture plane so that the landscape becomes a shard of itself and therefore more organic,...then I want to balance that with something geometric. Part of the gambit, is to try and create layers or screens on the canvas that can suggest depth and dimensions. With the central subject or view, I want to catapult the viewer out to the horizon and back. The whole canvas is the subject. There is space, background, elemental forces, structure, and,...the land.
It is a considered balance,...
Queensland Art gallery, Atlas Copco, Arco, Pacific Rim mining, Paul Byrne Mining, Phillip Bacon, Andrea Saks, Paul Smith Architects, Karl Friedrich Chef, Grand National Hotel.
Further private collections in Australia, Europe and USA.