I see my creative path as being one with no absolute destination – the process of creating is as important as the result.
In my work I often like to explore the tensions between chaos and form – and how chaos can break up stagnant forms into something more dynamic, or how form can bring beauty out of what was inchoate. Thus, sources of inspiration might include city encroaching on country and vice-versa, the dynamism of volcanoes, oceanic tides and so on. However, as the creative process for me mainly comes about via a process of psychic automatism, so that it is guided by an ebb and flow of subconscious impressions, both inner and outer landscapes tending to be superimposed upon in other, in any given composition.
My pieces may be layered, worked and reworked again, so that an inner alchemical process runs through as a theme in all my works, whereby each piece is further altered and refined into something very different from what it may have been in the first place. These materials have sometimes included materials that might otherwise be perceived as rubbish – glass crystals from broken cars/buildings, gypsum, melted polystyrene and so on. More recently, material used include metal foil, geometrical shapes cut from older collages, clay in which patterns can be imprinted and crack paint.The layers of my works often represent memories encoded in newer and older layers, adding more and more complexity to each surface. The layers are also intended to create the sense of age or erosion within my larger pieces.
I especially prefer to work with translucent and reflective surfaces where the shimmer of gold, silver, copper or iridescent paints capture light, sometimes alongside glass and/or beads, infuse my works, being interactive with the environment with the interplay of light.
My abstract drawings are sequential in the way a musical composition might be.
My life drawings endeavour to produce a more accurate likeness of the model in terms of proportion and pose, whilst imbuing each image with my own, unique style.