My work reflects the interest I have with the imposition of contemporary structures on landscapes, both urban and rural, with out any attempt to respond in their design to the existing environment.
In his book Real England, Paul Kingsworth writes, ‘something distinctive has been replaced by something bland, something organic by something manufactured, something definably local with something emptily placeless... every where is becoming the same as every where else..... the small, the ancient, the indefinable, the unprofitable the interesting.... are being scoured out to make way for the clean, sophisticated, the alien,..the corporate.’
Rural landscapes are having giant sheds, strip malls, dropped onto them without regard for cultural or material back ground. New buildings in cities are loosing local, ethnic and traditional identities. A high rise in London looks the same as one in Sydney or Shanghai.. I want to reflect this juxtaposition of structures in my work. Vast mono textured sheds are erected along side ploughed fields. Window less commercial structures are dropped onto rolling green countryside. There is no visual ornamentation, The intervention of the inorganic onto the organic, the natural and the manufactured together. The rhythms and textures of nature alongside the angular harshness of the constructed.
I use trees as a metaphor for the constant, the unchanging, the thread of continuity that exists throughout our times. The tree in the painting, ‘ Olive Tree’ was growing when Raphael was painting Tuscan landscapes.
I use my own photographs as source material; a means of identifying , selecting and observing subjects, scenes and elements that will form.the content of my work. It is important that I use my own photographs as reference. The process of photographing is an engagement with the subject and involves me in the very beginning of the painting.
I have looked at the work of Peter Doig, Karin Mamma Andersson, Aselm Kiefer, Piet Mondrian, Gordon Cheung, Paul Cézzane, and others.