The paint builds up in
many layers over time. I start with a turpsy underpainting, gradually building
to impasto, finishing with scumbles and glazes. Likewise, my watercolours
consist of multiple layers exploiting the fluidity of the medium.
Close inspection of the
work of the Old Masters reveals great freedom in the application of paint;
it’s the lifeblood that gives expression to the subject. If only looking at
reproductions it is easy to miss the raw physicality that they instinctively
knew was vital to capturing the broader and deeper truths of reality.
It’s my belief that freely applied paint exerts a
universal force capable of spontaneously turning inanimate matter into infinite
forms. Drawing on fractal structures found in the natural world, both micro and
macro, these paintings are my attempts to manifest this connection.