My oil paintings are spatial enquiries seeking to express philosophical ideas based on the play of colours and how they combine to create a feeling of movement and depth through rhythms and waves on a flat surface. They employ a network of relationships, a structure of independent, but interconnected parts and frequently use the geometrical, constructive formal idiom of the Bauhaus. They also owe much to Kandinsky, who in the wake of abstraction was concerned with music, theatre and dance. These open, formal elements can be interpreted in different ways, as dots, associations with existing objects, autonomous patterns of lines, splashes, arabesques in a new sense, metaphors of an eternally circulating liquidised world that embraces the viewer, but throughout has an inherent principle of balance.
Using oil paint on canvas gives me great flexibility when reworking the colour, and I produce either tight lined or softer blended edged shapes to create an illusion of depth.
My pictures evolve throughout production so the finished canvas may bear only some resemblance to the idea I originally sketched out. This allows me to keep my work spontaneous. I frequently pursue a subject farther and produce a series of oils on the same theme, for instance ‘Oscillations I - VIII, although each picture will stand alone.
I am indebted to the artists of the Bauhaus and the Expressionists of 1930s Germany for my interest in the effects that colours and abstract shapes have upon one another, to the 1960s for the sheer explosion of exuberant colour, the rapid developments in art, Op Art, Psychedelic Art and the rapidly development in the music scene.
I also owe a great deal to the Ruskin School of Fine Art, Oxford, where I received a very classical figurative training during the late 1960s. The emphasis on accurate draughtsmanship and colour sense has stayed with me throughout my artistic and working career as a graphic designer.