NOT ALL IT SEEMS

There's a Palladio show in the Royal Academy which offers a real insight into the conception of architectural space that has informed so much of our sense of the logic of buildings
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CONFLICT

I wonder always how studio work relates to the wider world and never see it in terms of specific subject matter or imagery - trying to paint something that is going on in the faint hope that this is making art that is a some way relevant to society.
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NEW COLLAGES

New collages to be posted soon on the site. These are larger than previous ones and share a vertical format which is currently preoccupying me. I am looking to get more subtle contrasts out of the surface using matte and very soft sheens to play off one another. The colour in them sets up some unusual sorts of space that intrigue me - this is not wilful but seems to occur just as a result of working in this way.

THE ART OF PRACTICE

..Taking this across to visual art. It seems madness or perhaps egotistical to assume that an artist reaches an intellectual and practical level of competence ( a plateau if you will ) to enable and facilitate high level art making and discourse.
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THE SPORT OF PAINTING

It was Larry Poons who made the point that you can go to any international city and see pretty much the same kind of art. This kind of art swaggers and is cool but it seems to be reliant upon content that is external to the actual art form presented. Younger artists learn to plan art but are less and less interested in the making of it
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APT EXHIBITION DETAILS

Private View: Thursday 27th November 2008, 6-8:30pm: Exhibition: 27th Nov-14th Dec; Opening Times: Thurs-Sun 12-5pm

APT EXHIBITION PRESS RELEASE

Paintings exploring how colour is revealed through surface. Intensely saturated, hot colour swathes and stripes with razor-sharp lines of colour zipping and sweeping through them - cutting and orchestrating space. The exhibition features work in a wide range of sizes with smaller collages exploring the dialogue between working on canvas and working on paper. The scale changes are dramatic and the colour application ranges from delicate washes to opaque velvet-like textures.
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SOLO SHOW

I feel a lot more connected with colour as the subject and have realised how my approach to colour has changed
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Luminosity

Luminosity in a painting is a difficult phenomenon to achieve. In fact, it is quite tricky to describe. What is meant by the term ‘luminosity”? It will probably mean very different things to different types of artist - always an answer shaped by their own experiences.
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Trying to get 'studio fit"

...So I made an abrupt stop and set up an easel with some larger paper and started a copy of a Matisse drawing that I like of a nude in an armchair 1924ish. It is part of a number of similar lithographs of the same model with the same approach. Matisse had gone back to using half tones, and generally exploring atmospheric colour.
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something in the air

At first glance they all looked like crows. Yet looking again a different profile could be seen in one of them – it was a hawk; a small one, maybe a kestrel. We only saw it momentarily but this was enough time to pick it out – it had a different centre of gravity, it seemed to get more purchase out of its wing beats.
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Following a thought..

How do your day-to-day activities, interactions and routines condition your opinion making? It is easy to assume that opinions, tastes, are trenchant, deep-rooted and seldom changed. How can they be affected by the physicality of our lives though?
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New 3D "sketches"

Folding paper, forming and brushing over paint - the brush , a grubby unchoreographed dance which works off and against the form - sometimes doing it no favours. This adds a sort of counterpoint and the ones that interest me most are when there is an edgy dialogue between form and colour. Close up images can be seen in current work section.

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Buildings that aren't really there

...We marvel at computer simulations whizzing us through the virtual skies, swooping on graceful parabolas in and out of the space of the edifice in ways that we could never possibly experience for real - unless of course NASA lent us some sophisticated craft to tootle about on.
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Lines, curves and dodgy hotels

Every one of these buildings is a form of kitsch hotel and we are conned into thinking as we stroll by in ipod oblivion that these new developments are acceptable as they slip under the critical radar on the “regeneration” ticket.
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