My approach to painting derives from the consequences and possibilities of colours living side by side each other. I enjoy submerging in the surprise and play they offer as they are let loose from their tubes and containers, sometimes in pure splashes, sometimes mixed and worked, to take on new life on the canvas or board with imaginative flashes of brush or finger or knife. Everything depends on this relationship of colours; it is the primary joy of the visual art. Forms and patterns, contours and later delineations are conjured from their essential, vivid appearance and radiation.
A harmony, or skilful balance, then becomes of the utmost concern. Without playing colours against each other wisely, or by ignoring a colour’s own implicit array of sympathies and antipathies, the impact of colours moving emotionally across, into, and through each other, is diminished. A painter in love with colour delights in the freedom of paint like a child, and succeeds through innocence; but, listening to colours, the painter deploys them according to their secret desires, and succeeds through the affectionate and intelligent care of the gardener.
Ultimately, these colours grow to support a larger, a grander conversation of forms and patterns. I seek the emergence of bounded worlds that should glow with a simple, musical incandescence. I try to catch a glimpse of ecstatic magic through often benevolent commonplace objects, images, and animals set amid rough-hewn landscapes. This is where a person’s heart resonates warmly, unburdened, but open to the dreaming rhythms that escape our more complicated and self-obsessed habits.