Vol.7

THE BABY BOOK

42cm x 23cm, Plastic, latex, rubber, Nylon, Leather, wax, paper, watercolour, ink and oil paint.

This book was made in 2009-2011, consisting of 41 pages containing paintings, drawings and collage elements in some cases with related and unrelated dialogue and annotation.

The themes act as a preliminary rehearsal for some of the paintings that emerged during the 20012-13 period.

CROSS CONTAMINATION/ ACID BATH ROMANTIC

A collection of landscape paintings made with a combination of water and oil based paint using a layer and tier system. In Dot Sequence, Elements from the left painting have been removed from a matrix at regular intervals and grafted onto the painting on the right in no particular order. Skin peel, utilises the same technique using organic stokes made with a large brush before the under painting is peeled away. This body of paintings was designed to be shown together as they are in some way byproducts , with a common shared asymmetric format.

Acid Bath

Tempered glass 150cm x 100cm, aluminium trough frames. A combination of oil paint with an addition of metal filings have been used to makes these large landscapes, which were painted using drawings made in the fields near Chilston Manor park in Kent, in 2009. the paintings have then been suspended in a hydrochloric acid bath, similar to that used for traditional etching processes, or in the automotive industry. there is no real way of knowing how the painting will react under these conditions but these were the preliminary results, some areas have been totally destroyed others have grown a sort of patina halo. Generally a slight discoloration of the entire image, a kind of perished feeling to the surface similar to a painting that is showing signs of age fatigue.

Codex Vol.7

MONO

Stand of silver birch trees black enamel on fluorescent perspex, composite biro drawing on paper behind.

VOL 3. SYNTHETIC ORGANISMS

Constructed from latex, rubber, plastic, acitate, watercolour, ink, oil paint, varnish, enamel, paper. 31cm x 42cm, it has a flexible paper back quality. It comprises of 47 pages containing what are described as ‘Synthetic Organisms’. Made 2007-9.

LET SLEEPING DOGS LIE

These two drawings are studies are responses to paintings made by Ivan Shiskin (left) his 1887 painting entitled ‘Evening: A Study’. Jean-Honore Fragonard ‘The Swing’ 1767 is the point of departure regarding the second picture. They are both made using a black indelible marker pen on semi translucent coloured Acrylic perspex. Fragonard has a facade of glass with a mechanical floral marker pen drawing behind.

Folkstone studio 2016. Composite drawing in black enamel on glass with a reverse gold leaf lining. In the centre is a painting of the coronation with a slight ethereal glow. Three small drawings of a snowy landscapes on coloured plastic and below that is an interior of Great Ormond street hospital from the series made in Glasgow 2009.

ALLUVIUM DRAWINGS/GRAPHIC

I wanted to take some time to explore a variety of processes where I did not have to formulate imagery from the ground up. Take the practical aspects out of my hands, so I could spend more time looking. This automatic way of working started out with water and simple pigments collected on paper, these are then drawing over trying to find a kind of rhythm in primitive mark making before expanding into other materials. Areas that have particular feels are then cropped and displayed mainly in areas where more precise painting is undertaken. The only remit with this work is to keep the human or hand made element out of the composition.

NOCTURN

Ghost replications of people painted free hand based on vernacular photographs collected from a variety of sources circa 1890 -1984. They are transcribed onto silver leaf mounted on canvas, printings ink is rolled onto the surface using fabric rollers, this area has been exposed with a cloth then softened with a fan brush, revealing a small section.

Tonal silver leaf, tarnished and marbled. The contours of the scene are painted from memory and are based on the fields near Cockley Cley. areas of the underlying silver have been removed and peeled back to expose the lighted blue tone that has been achieved using a thin damar glaze,