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My paintings aim to capture the dynamics of London's anonymous city crowds. Groups of figures play on the eye forming rhythmical patterns of movement. My view is as if through the lens of a camera compressing the image as a way of understanding something very contemporary about the visual world.

 

Marks taken separately look undistinguishable, but collectively, because of their relationship to each other, are recognisable as being figurative.

 

I often view from above, studying images through glass and rain, exploring the legibility of the image degraded by distortion. And with the use of little colour (my palette usually starts with ultramarine blue, raw sienna and raw umber to create some lovely dark browns and khaki greens, then I often add a touch of colour when applying the white/cream lights, a red or burnt sienna); oil paint is applied to canvas, using rags and brushes, working the paint across the canvas, leaving surface traces of physical movement and energy.