I'm a painter based in Carmarthenshire, West Wales UK. I've always had a strong association with the landscape in my locality which guided much of my early career work. I returned many times to certain locations constantly seeking ways of conveying my passion for using paint and colour whilst capturing recognisable geographical features. This usually involved frantic sketchbook studies in situ followed by development back in the studio. With only a form of shorthand as reference I was forced to make creative decisions as I explored my individual visual language. Paintings were typically expressive and colourful but eventually I became dissatisfied and unchallenged by what became predictable, yet commercially rewarding, outcomes. Frustrated by the confines of representation I was attracted by the abstract work of particularly the New York School which helped liberate me from any duty I felt to record.
My current practice is studio based using experiences and recollections from remote locations rather than direct observational studies, with little regard to actual topographical landscape or specific constituents. A coastal or mountain walk provides me with a whole sensory experience which informs my work and I prefer to allow memory and imagination to fuel a more creative response in which process is prioritised ahead of subject.
Paintings are therefore abstracted but not to the extent that they cannot in some way be contextualized.
I am particularly attracted to harbours and estuaries; fascinated by the channels of water; the colours, shapes, lines and textures created by the ebb and flow of detritus continuously exposed and concealed.
Relying on my memory bank of impressions, my paintings begin with a conscious selection of colour and initial gesture or mark. From that point onwards I work instinctively. Each painting continues on its meandering journey; asserting, veiling and obliterating using mainly acrylic paint combined with a variety of media.
There are sporadic returns to more figurative responses - perhaps subconsciously reinforcing my connection with the landscape - but the painting might undergo radical incursions if I'm tinkering with too much description.
Paintings are often energised with expressive, lively swoops of colour with contrasting lines and textures. Other times more restraint and control is prioritised but foremost is my concern with the juxtaposition of and interaction between colours.
The painting’s journey is typically complex, undergoing dramatic changes; sometimes taking weeks to resolve.