Like many artists I’m inevitably drawn to the sweep of big skies, the shore, storms, hills and mountains – the places that make us feel insignificant in the eye of nature. But, in my heart the landscape is made from the unnoticed details – the commonplace, the ordinary and the overlooked. The forms, colours and intricate structures of the tangle of hedgerow, copse or dyke edge have a deep and almost obsessional lure for me. And, I have to admit I have a particular and quite peculiar thing for trees without leaves. Trying to capture (and share) some of my unfashionable view of the world is my tiny rebellion.
My work could be considered deceptive – it may look at first glance to be ‘photographic’ in its detail and composition. The composition maybe a little stark, the colours muted and the image static and without movement. It’s all constructed and completely intentional. I’m an old-fashioned draughtsman of sorts …
My landscapes and the trees are all real – places I know intimately – places that people pass and often never notice. They are stripped of all unnecessary details and distractions – essentially they are my interpretation of their essence. The ‘stillness’ is used to allow the watcher to study them intensely or simply just appreciate the view without focusing on the details.
I paint winter trees and landscapes because they show the underlying structure of the world around us – the complexity and beauty in the raw – a face without make-up or artifice. I’m also drawn to the jeopardy of working on white board with indelible inks and traditional dip pens as it requires precision and has little room for mistakes or correction. With some work requiring days of effort – a single error or lapse in concentration can destroy the piece in seconds.
If you enjoy what I do – please let me know …
