I start from scratch. I only need a tiny mark, a tangible trace of a colourless past.
I work solely in black and white and on small areas.
From this a concrete dimension emerges, one where a revived past mingles with the present and which, shedding ephemeral elements, assumes a timeless reality.
The structure is created around the unexpected, in which colourlessness embodies a sense of purity; something that we cannot change unless we resort to alchemy.
I like to see the fluctuations of inconsistency; it is almost as though these properties operate in another dimension.
The techniques I deploy are varied: oil paints, acrylics and the indirect application of acrylic varnish.
Whether on board or canvas, none of my work is ever completely finished, becoming diptych or triptych as required, with the assembly of the elements being governed by the need to form a unifying dialogue among the parts.
The aim is to start from nothing, and with all the frantic uncertainty that that involves to grasp at fleeting providential islands so as to recover the territory of memory.
Consequently, my work takes form and grows out of improvisation; a process that seeks to decipher the elusiveness of time and imagination. I study the interplay of different things; a miscellany out of which emerges a means of integrating the unexpected.
I do this in the hope that everything remains possible and that auto-regeneration need not be the only choice.