Colour and design have been the primary interests in my work for over 30 years. A lifetime of imagery, millions of brushstrokes, of decisions, and iterations are condensed and contained into a single painting.
A painting doesn’t reveal itself all at once (to the painter or the viewer) but reflects, bit by bit, unfolding recognition. The paint applied becomes a place, recognition of place then becomes a thought, thought returns me to the place and back again to the painting.
It is said that a painting is like a circus tent. In reality, it is only cloth stretched over a wooden frame. It appears substantial, everything looks familiar but not at the same time. Although I paint landscapes, I don’t want the viewer to look at the painting and imagine themselves in the landscape. I want them to look at the painting and experience the paint, and experience recognition. If I’ve done my job well, then that’s enough.
The greatest joy for me is to put paint on the canvas; that first initial brushstroke, full of excitement and optimism. My second greatest joy is to have somebody look at the painting and say “I know that place, I recognise that feeling, I know where you were, in your heart when you painted this. I know where you were and what you were feeling right there, right then, and I like it.” That’s the essence of painting for me; the communication between the viewer and the artist, and that’s a rare moment. And that is something to celebrate.
Charcoal, ink and pastel, painted in situ, in the wind, on the harbour wall at Staithes, North Yorkshire.
Signed and dated on the reverse.
Ink on paper 17 x 98cm, approx.
Framed size 27 x 108cm, approx.
Framing and delivery are included in price.
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