My painting technique explores the tension between control and happy accident, elegance and roughness – there is a tension where they meet. Proudly self-taught, I evolved my representational drip technique gradually over several years, testing different materials, refining it, making a mess and sometimes getting it wrong in order to get it right.
My subject matter is nature, usually flowers, weeds or trees. They are nothing special, just what I see when I’m walking around. I particularly like the way the colours spill out onto the pavement, messy and gnarly, disturbing the calm geometry of the city. The tangle of nature and the negative space made by those shapes. Also, for me, they represent the eternity of life and the interconnection of everything.
I generally use acrylic on canvas, in a strict palette of no more than 3 colours. Stripped down of excess detail, as I like to get to the essence of it. The paintings are grounded in observational drawings, as I’m interested in the spot where representational meets abstract – again there is a tension there. I normally start with the canvas on the easel, building up layers to create visual texture. Then move it onto the floor for my favourite part, the pouring. The drips and splashes not only depict the flowers or weeds but also hint at movement, growth, pollen, particles swirling around or atoms bashing into each other.
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