My paintings are often very sparse. The pictorial elements I use are minimized until only that which is ‘active’ remains. This reduction is essential as it allows for greater control over each of these elements and, crucially, allows me to eliminate ‘accident’ in favour of choice.
The precision is functional, emphasising that details, of sometimes only one millimetre or less, are intentional and not the result of chance. Creating a situation where the viewer is fully aware that every nuance has been considered and is not the outcome of a serendipitous act is fundamental.
Using imagery associated with human activity, rather than the natural environment, I make work which communicates in a very direct and, as I see it, very ‘human’ way. I am interested in the connections we make with others through the things we create – art, music, architecture..., and how these connections are often based on the tiniest of details. I find that the knowledge of these nuances being created ‘intentionally’ by the artist, composer, architect…, rather than by chance, produces a heightened, almost intimate, connection between author and audience.