Talk us through a brief history of your practice?

 

I aim to push the boundaries and limitations of painting. Often this means you are exploring new avenues, painting outside previously known painting standards. I would say half my time is spent painting things I know, and half the time finding or developing new and different ways of painting. This creates a fluid process, which is often demanding. Recently, I have started to develop some exciting areas that have become apparent through the creation of singular artworks, these areas of new ground are my primary focus.

 

Which artists are your major inspirations?

 

I have been influenced by painting techniques that changed the 19th, 20th and 21st centuries. J.M.W Turner, Jackson Pollock, Gerhard Richter, John Hoyland, Howard Hodgkin, Peter Doig and Jenny Saville are amongst the artists I consider to be influences. When I consider these painters, I am reassured there is still great depth and meaning to be gained from the medium.

 
How would describe your art to someone who has no knowledge of art?

 

Complex, layered abstraction, with a wandering visual aesthetic which I consider to be reflective of the now.

 
Which painting techniques have helped you achieve the kind goals that you strive for in your artwork?

In any given painting I used a multitude of painting techniques, but re-appropriated techniques I use are the drag technique famed by Gerhard Ritcher, variations of Jacksons Pollock drip technique and grand brush marks which are inspired by Howard Hodgkins. Recently I have introduced other painting mediums to my work which creates a more dynamic spectrum of colours and open up vast possibilities. I believe the combination of this various techniques enable me to create a painting language which is truly original; creating autonomous juxtapositions between fluid and varied brush work and bright flat painted ground.

 
Which pieces are you most proud of and would consider to be your most important work to date?
I consider the most important works to all fall under the umbrella of the 'Borderline' series which I plan to carry on exploring.

 What is your greatest achievement to date?

My greatest success to date is to have carried on painting through adverse conditions, I have clocked up thousands of hours of studio time in front of canvas over the last 15 years. I have been selling and exhibiting works for more than a decade now, but due to a R.T.A I was unable to paint and exhibit and it has taken roughly five years to get to a point where I am able to paint at a level that I am accustomed to. I have recently been able to focus my energy on creating new work for my new platform, which offers collectors the information and quality they are looking for. Although the last decade or so has been very turbulent, these experiences and skills will give me a greater capacity to achieve great things within the Art World.

When you make a painting, what is your starting point? E.g. a photograph/ still life / something in front of you that you abstract, or is it more intuitive - a feel for the paint/moment that guides you?

I often have a sketch, but this is usually a box or rectangle, with a process or layers in mind, but that is about it, when I look back at my original sketch the artwork never resembles the initial idea. I believe painting is only able to represent painting, that is to say you are only able to react to a painting once it is in front of you, and you have to react accordingly

in order to meet your own goals.

However, I am starting to use some photos for brief reference, as I am opening up new ground in my practice, continuing to ponder about the clash between the old world and contemporary world, nature and man-made, new media and old media.

 
As an abstract painter, how far do you feel the medium can keep progressing?

 

I think the medium, has slowed in its progression due to the change in people's behaviour. For instance, wanting things instantly, wishing to be the best overnight, this has led to a lot of people giving up on painting early on because they could not get the results out of it what they wanted. 
With regards to painting, I think for those who endure and carry on gaining valuable knowledge of the medium; it is only when you have acquired a high level of skill and knowledge that you can start creating paintings that no one has thought of before. So, I think its possibilities are endless at this level. Painting can often encompass many metaphors, but often I think of it like a game of chess, once you have mastered the moves and its various combinations, you can then begin to start progressing the way the game is played.

 

What lies ahead? 

Opportunity to create a large body of work that expands the Borderline painting series and really begin to understand the possibilities of the series.