The Painted Van

The Painted Van

Painted Cup

Blue Absract

Blue Abstract Painting

Coastal Erosion

Coastal Erosion

Abstract

Abstract Painting

Painting in a bag

'Painting in a bag' explores the interdisciplinary media used within current practice. The question of where  the canvas ,or frame, physically extends to and whether the work,  in current thinking could be construed as a painting is interesting.

A House with a view

A house with a view, is a continuation of work from the portrait painting, which  links the heritage of the park today with the past.

All the Worlds a Stage

This painting in working progress has been inspired by the History of Christchurch Park and the Mansion house which is close to where I live.Our House was eventually  built on the original grounds of the Holy Trinity Monastery.
The land our house sits on ,was used by monks to grow vegetables.This changed when Henry V111 dissolved all the monasteries and so Edmund Withipoll built Christchurch Mansion in 1548.Our land  became  part of the rolling landscape and his family's view.

It is interesting,to imagine the incredible back drop or stage to where the the painting is being created,now.  In the past I have explored the many family portraits in the Mansion and wanted to paint my own portraits of my family.
I find it exciting to join a time line of Human Ancestry, all be it not my own, with my family contribution.Also every portrait I have ever seen has a slightly all too real grandeur about it.I wanted to explore this component of painting portraiture , to find out whether,my sitters , whilst caught in a physical frame, might remain informal.
After the Withipolls and the Devereux families owned the Mansion, it was purchased by Claude Fonnereau.
 He was believed to be from a successful Huguenot silk weaving family.This is personally interesting to me, because my fathers family are Huguenot descendants.
This creative link to now and the past intrigues me.

Shapes and Colours

Shapes and Colours

With this series of work I concentrated on  building a strong coloured background to alter the colour quality of white applied to the surface.I also liked the idea of 'fragility', which evolved , through working on the piece.

Details from recent work -Fine China

In my recent work , there are several layers of paintings beneath the finished surface. Some of these layers are a complete digression from the original idea or concept or the work, that  you see in any of the finished works.
 The paintings are developed from drawings and are initially created by drawing with paint. However the forms and shapes develop their own discourse and precipitate changes of thought, intention and decision making within the  directions of the painting surface .
Once the shift in composition gains momentum the question is how far to take it? There is always a risk that the painting which may have( perceptibly magical moments) in it , could be destroyed. The conversation between myself as Artist and work of art is a direct one .
 This is the most fascinating element of painting, you can't control the medium and what ever is created comes from the reality of where you are at that moment. The colours and shapes interact,  and have as many emotional gradients as human beings.
More and more  I am understanding the method or process of the way I create work. I am wondering whether other Artists cover and hide work that they don't want to project to a viewer?It is an interesting idea to almost unearth or discover the past of each painting, which remains in the present as 'the object'.  The texture of the painting has partly created the history of it's past, so the past informs the future, just as  fallen dust recreates form.