I work in many areas of subjects and genres, but I'm always drawn unerringly to two in particular - abstract geometrics and found objects.
They are seemingly worlds apart - almost dissonant - but each has its own particular elements of surprise and revelation, which I find very rewarding to explore.
Abstract Geometrics... if the genre of these works were to be given a formal name, I guess it would have to be the broad label of ‘juxtapositionalism' - exploring the relationships that develop by simple placement of shape and colour.
I’m continually intrigued by the happy and pleasing accidents that continue to arise in these paintings, as these factors come together in ways that I hadn’t quite expected, despite the arbitrary parameters that I might lay down for each work. Sometimes I allow myself a broad and comprehensive palette of colour, and sometimes one much reduced – even down to basic black and white, where the impact of the apposition and contrast of form and colour value is at its most dramatic. From the relationships of simple and basic squares, to more complex shapes - and even 'breaking into' the squares; fracturing and dividing them with colour and shade... what develops never ceases to delight.
Found Objects. Artists have long used the found object component in more abstract and modernist works — by introducing real objects into paintings by way of illustration (the objet trouve of the surrealists), and into collages, assemblages and constructions by using the objects themselves… and using them, more often than not, strictly as found, without amendment or alteration. Hence the term.
The found object has nearly always been simply an element – a component – of the artist’s final work.
I use found objects in several ways; sometimes I place and paint the object in a totally inappropriate or conflicting ground or background -
or even greatly enlarged - and I find that this allows an interesting re-examination of the object.
Most often, I apply a contemporary approach to a traditional subject – that of applying ‘found object’ principles to the natural world, and to use them not as supportive elements, but as the whole point of a formal, regimented painting.
In my own particular adaption of this discipline I limit myself to group together only those objects found all on the same day and at the same location – the nature of an individual site is thus explored and examined in one ‘stretched’ moment of time. I find that the artistic isolation from their natural environments and the archival, almost severe, nature of the paintings, all then become part of a fascinating formal documentation, and revealing, as one art writer aptly put it – ‘fresh repertoires of form implicit in aspects of nature previously ignored.