From an interview at Studio Critical blog:
“My process has become very organic; reworking things, interweaving things… paintings can have their origins in the history of my own work or the wider history of art. Some small aspect or detail can be enough. A memory of something or even certain sensations. I also use my immediate surroundings and day-to-day life as a source. For me this is important, it’s a way of transforming it into something else. The everyday can have a blind weight to it; the challenge is how to open it up, break it open even. The marvellous is always close at hand and often overlooked. There is also an element of recycling; discarded paintings or studio debris can be incorporated into a work, something from nothing, a kind of radical humility.”
“One could consider each painting as a problem to be resolved but I shy away from this idea. A painting should be a lived thing, it is lived through in its making and in the viewing, as such it will often contain certain failures or inherent problems. It is very often the case that the unresolved has a lot of truth in it. For me a painting is an entity that should not depend on a fixed one-dimensional face to the world. It is an accumulation of evidence which reflects the life of its own making and the daily life that has gone into it.”
“The only real things that need resolving are those that most people have…life things, practical things. In my case, it’s creating a balance, which enables me to work, finding time and a certain tranquil state of mind. This is not always easy to achieve.”
(read the rest of the interview here!)
See more paintings here!
