Using sweeping brush strokes and filling canvases with abstract forms amid fields of intense colour, I tempt the viewer’s eye to travel through the work before resting on a certain spot, a highlight perhaps, or a dab of pure colour.
Using sweeping brush strokes and filling canvases with abstract forms amid fields of intense colour, I tempt the viewer’s eye to travel through the workbefore resting on a certain spot, a highlight perhaps, or a dab of pure colour.
A painting is an artist’s impression of their view of the world. My images are my emotional response to my surroundings.
I take a lot of photographs, often using the images either in their entirety or framing my subject in tight close-up. Sometimes I look at my subject from an offbeat perspective, however it’s the abstract shapes and colour combinations of Nature itself that shape and enhances my work.
A purple spray of bougainvillea, the sound of crashing surf or the chaos of a summer storm might catch my attention. In a recent exhibition, ‘From the Deep to Daylight’ I exhibited works that showed the mysterious life in the shadowy depths of the sea brought to life when sunlight penetrates the surface.
Just as the ‘Abstract Expressionists’ aimed to make their art, while abstract, also expressive and emotional in its effect, I keep my painting free and infused with movement. By using sweeping brush strokes and filling my canvases with abstract forms amid fields of intense colour I tempt the viewer’s eye to travel through the work before resting on a certain spot, a highlight perhaps, or a dab of pure colour.
For the most part, I prefer to leave my work untitled as labelling a work might inhibit viewers’ freedom to explore and discover their own responses.
Titles given to works are arbitrary, but necessary, for gallery exhibitions and websites.