I see colour as light that impacts on everything around us including our emotions, acting as a stimulus to create a sensation. The relationship between colour and it’s different qualities, are an important aspect of my practice.I always start with a predetermined idea for a painting, allowing it to evolve, until it takes on it’s own identity. This recent body of work IB II, III, and IV, are an extension of IB I, a figurative landscape for which for me evokes a state of reverie. What is important in the initial painting is the structure of interlinking geometric parts, the visual field of effects, which unite the picture, but do not allude to any physical appearance. These three paintings continue in the same vain, more minimal allowing the colours to function together and vibrate. This movement which occurs is a vital aspect of the work.The process of applying paint; scraping back and re-applying it until satisfied with both the colour combination and the internal relationship of the shapes, lies at the root of my practice. I relish exploring surface textures and the interplay of light and shadow. The applicator, the palette knife, the plasterer’s tool and squeegee are key to my manipulation of surface and texture. I want these paintings to be meditational for the viewer, echoing that moment of complete letting go, which I experience in the act of painting. When I start scraping, I allow my gestures to be spontaneous and the outcome unpredictable.I have been influenced by numerous artists in particular Nicholas de Stael, known for his use of thick impasto and his highly abstract landscape painting. Wassily Kandinsky for his colour theories, and Gerhard Richter for his painting techniques. But also artists such as Robert Bordo, Marta Marce, Bernard Frize, Stanley Whitney, Varda Caivano and last but not least Richard Diebenkorn.