I have been greatly influenced by the enigmatic inkwork and watercolour painting of the far east. The traditional reverie for the natural world is celebrated through the creation of beautiful and economic graphic forms and spaces.
My mother was a pattern cutter and couturier and I take much inspiration from the worlds of fashion, design, architecture and photography and the way each discipline feeds into the other and sets up visual dialogues.
Switching from oil-based media due to the toxicity of the solvents and concern for the environment, I now use sustainable, natural and water- based media wherever I can.
I apply and harness pools and lakes of watery pigment in layers, each drying with it’s own and idiosyncratic intensity and alchemic character. Colours are applied and allowed a controlled bleed where they merge and spread in the watery substrate. I leave the latest layer drying to come back to something which looks quite different and work then with what it has become. I find this process seductive, mysterious and organic in behaviour. There’s a parallel and imitation here of the natural world and evolution – which may be accidental but if better, selected and developed as part of the survival process.
This is a meditative process but sometimes I move with energetic and almost calligraphic fast marks – often to great music! Moving between what is visible and invisible, representational and abstract, intention and accident, I endeavour to capture the life, spirit and gravity of the living form and space and my relationship to it.
I use found images and photographs I take myself (my iphone camera has replaced many sketchbooks) as a source of inspiration and regularly a starting point for new work. When images collide and meaning becomes something new as a result of an interesting or surprising juxtaposition, that’s when I get really excited.