What interests me is the way things are remembered in visual terms, I am trying to bridge the gap between memory and the present day in my work. Like many people I find I associate different shapes and colours with days of the week, decades of my life and with places I have visited. When I return from travelling and begin to sketch, motifs will arise that come to symbolise place, time and history. There is an element of storytelling here although the images are abstracted. I surround myself with sketches and notes but ultimately try to paint as instinctively as possible.
I want my work to be an antidote to the slick digital imagery that surrounds us on screens everywhere we go, so I try to preserve brush marks, paint splashes and mistakes rather than covering them up. I often work from images that are in danger of being forgotten, family pictures from my childhood including aerial reconnaissance photos that my father took from his Spitfire in WW2. This has led me to explore further the memories of the Second World War from other perspectives and I am currently working on images from a visit to Hiroshima last year.
I want to make work that has an immediate impact, but also a sonority that reveals itself as you spend time with the work and encourages contemplation. To me, there is no correct interpretation of the work, although it may have sprung from a specific thought process or subject matter, I’m not making images that you need to read about before you look at them, I hope people can connect on an emotional level and relate the images back to their own lives.