An initial, tentative dialogue investigates possibilities of co-operation, of creating a basic structure, a web of ideas and marks that are sympathetic to each part: medium and painter. Medium, ideas, methods and plans are then put through some sort of centrifugal process in which any part may either be forcefully thrown out or kept, cosseted and developed.

The chosen medium and the tools used to manipulate that medium are clearly limiting but they are also the rich provider, allowing within themselves a freedom that is unrestricted. The only other limitation is inevitably yourself.

I begin with a white or black gesso ground which often becomes an important part of the painting. I frequently build up layers of paint which I then scrape back to reveal underlying colours or the ground gesso. Further layers may then be superimposed, using any tools ranging from rags to thin pens. This is a 3-dimensional working process, moving backwards and forwards and always remaining flexible.

When using oil pastels I exploit the raw, greasy, resisting qualities of this medium alongside the chance they also give of making very clear, accurate marks. They provide rich textures as well as opportunities for drawing.
There is then a process of extending the characteristics of the marks on the surface; guiding them in one direction or another according to the inferences those marks give.

My intention in using these marks is to describe an idea as simply as possible and to offer a means for the viewer to empathise with the paintings from his or her own perspective. The manifest textures and juxtapositions come together with latent suggestions and references.

I hope every onlooker is taken on a different journey...