Statement

I primarily make paintings about painting; the formal elements of colour, form and gesture make up abstract compositions where painterly properties are the focus. Making pictures that do things that only paint can do interests me. The idea that painting is often intellectual enough without attaching a conceptual underpinning is important, and has an irony to it that I feel sits at odds with my quite sincere approach to making work.

I rarely use paintbrushes when painting, instead adopting other tools; such as draft excluders and squeegees to create marks. The gestures created from these processes often act as compositional focal points, and paintings are sometimes left alone as finished work once these marks are made. I like the idea of making big gestures in small paintings and so the size of the work is often moderate, when I do make larger works I find that they do different things than the smaller works. This is no bad thing I find and is something I consider and subvert in my practice.

Using a minimalist approach to make aesthetic works interests me. The austerity and simplicity of the compositions aims to contradict the use of colour. Colour is crucial to the work, and I often aim to use the heightened pastel tones of the retro and pre-digital. I like the idea of looking back rather than forward technologically speaking and I feel that this sits quite well with the use of paint, an inherently analogue medium.

The architecture of gesture in painting interests me, and exploring how painterly marks can act as architectonic structure in a composition is key.  Chance plays a big part in the forming of these gestural structures, as you can never be entirely sure what sort of mark you will end up with. Because of this chance element work is often made and unmade until you end up with a composition that sticks. This serves to add a history of making to the pictures that I feel is important to the way the work operates.

Making painting with a formalist approach is often considered problematic in the 21st century, and from a theoretical standpoint I agree to an extent. But I will feel that materiality and honesty of making is important in the times we live in and is something that I strive for.