It’s not so much what to paint as how to paint, the “how” being the significant form. The emphasis on the actual process of making a painting. A dialogue with the grammar, the language of painting. The laws of chance. Natural and unreasonable order just held in check. Fragments of a voluptuous world. An approach that concentrates on the study of consciousness and the objects of direct experience. Neither of which benefits from narrow definition, the truth is in the dialogue and this is constantly changing, as conversations do. A rapport between painter and canvas. An invitation to the viewer to participate. To expose the guts of the process. It’s about what can be done with the stuff, the paint. You’ve got to be madly in love with the stuff!
Brighton University. BA and MA