I am a figurative painter and work in a variety of genres such as the figure, interiors, still life, landscape and cityscape. Although I am interested in the figure as focal point, I feel it is important to portray the body in context. In order to do this, I combine genres which may offer metaphor, narrative, or inform the state of the figure. Working from life can establish a unique connection to subject, so I often paint from installations and live models. I also rely on photography to capture a space or subject which cannot be re-created in the studio. Sessions are conducted independent of each other; consequently models rarely meet one another.
Much of my early training involved formalism and abstract expressionism, so I enjoy pushing the tactile nature of paint. I use a variety of painting methods including wet on wet impasto, traditional and non-traditional glazing, and direct mark making. In order to achieve sculptural surfaces I use a complex impasto approach, which I call ‘threading’. When working with glazing, I use a derivative of a ‘grisaille’ or a watercolour method. Before a session, I map out a mathematical grid, which I use to draw the image. I prepare anatomical and topographical drawings for the sitting. If unable to complete the work in the scheduled time, I rely on photography.
Although I am keenly interested in the aesthetic and place emphasis on the perceptual elements in my art-practice, I am equally aware and involved in the concepts, which drive and evolve from my imagery. I am interested in humanism and social psychology; how people connect or disconnect with one another. I am concerned with issues relating to the urban experience, personal and social intimacy, economical and social hierarchy, isolation, identity and how contemporary issues effect our perception of reality. I use narratives from sitters, observation, and personal autobiography to inform my ideas.
Why do I specialize in figurative painting? I work in the figurative tradition because I am interested in re-using or expanding upon methods of practices past. By presenting contemporary ideas to figurative painting, I hope to contribute to the anthology of its history.
Why do I choose the medium of paint? The fundamental structure and look of paint has changed very little from one century to another, with the exception of the introduction of acrylic in the twentieth century. Consequently, this is fortunate for anyone working in the painting medium, because the expectation for change in the structure or look of paint is fairly low. And, perhaps it is safe to say, that because of the consistency of the medium in history, an appreciation for the expected, tradition, or perhaps visual ritual has prolonged the timelessness of paint. So, I feel it is a good medium to work in since it will rarely outdate itself.