As a painter I am primarily concerned with the examination of the human condition, which for me includes the subjects of love, solitude, desire etc.
I envisage my paintings as film stills, as they are indeed prolonged
moments from the theatrum mundi.
The influence of Edward Hopper is profoundly significant in my role as an image-maker.
The solitary figure, which infers voyeurism, serves as a vehicle for my investigation; the mental as well as the physical state of the human being are of interest in my paintings.
In my work I am seeking to create a divergent world by obstructing the
continuity of typically representational painting. This is achieved by introducing un-representational aspects to an otherwise illusionistic space, often in the form of flat colour or marks that read more as paint than illusion. This unavoidably arouses examinations of the painted surface and detracts from absolute absorption into the world it represents.
The creation of this paradox between the real and the unreal causes
conflict. This duality interests me, as while one of my objectives is to create an accessible and plausible unreality I am also fascinated by the relationship between paint and subject matter and the boundaries of diffusion between brush stroke and representation.

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