Inspired by German painter, Charline von Heyl, I followed her general approach by bypassing any prior planning stages plunge into the painting stage and responding directly to what was happening on canvas. I started off with strong vertical blue stripes which I then partly overpainted. Somehow a cityscape seemed to emerge from the canvas. Though using a similar process, my outcome is totally different from Von Heyl's work.
This is a portrait of my daughter with facepaint on. It originated from a series of photographs I took in which I explored notions of skin colour and identity. I was inspired by Hans Silvester's book "Natural Fashion: Tribal Decoration from Africa" in which he photographed Surma and Mursi people of East Africa's Omo valley. They elaborately paint their faces and decorate their hair.
This is the Liverpool One bus station with Albert Dock in background on a rainy early evening.
Painting done specifically to commemorate the 2012 Guild celebrations in Preston. I won the 1st Prize at the annual Open Art Exhibition at the Harris Museum that year. Co-incidentally (?!) the building on this painting is the Harris.
Francis Bacon's painting style was the inspiration for this painting which I made from a life model.
I have tried to capture one of those moments when urban colour, lights and reflections are at their most beautiful: on an early winter evening just after a rain shower.
This painting started off as a reworking of an existing painting of characters found in works by Edgar Allan Poe. I struggled for a long time with a very illustrative and representational interpretation then I abandoned it. A few years later I returned to totally transform it. Slight glimpses of the original underpainting still come through. The fractured targets representing my painting process here. I aimed for one thing but created another.
I have been painting on and off for years and mostly use acrylic paints which I often pair with other mixed media elements such as powder pigments, coloured inks and gummed tape..I paint portraits and landscapes in which I generally try to introduce some element of controlled accident which I then have to react to and attempt to work with, but often when I start a painting I have no definite preconception of where the painting will take me.