Having studied design, spent a career creating ads in London agencies and more recently been working as a designer/photographer in the South West, I now find myself spending more and more time painting!
I’m still finding where I’m going with my art and loving experimenting with ways of working, though nearly everything is figurative.
Recently I’ve been working on a series of large scale paintings exploring the three-dimensional expressed as a two dimensional composition.
I’m not so interested in how the brain understands that some marks represent the human form and a not too dissimilar arrangement represent its surroundings (or a completely abstract setting) but I am intrigued by the interplay between the two.
Though not really my thing, I’ve looked at OpArt and other ways in which marks can, if not fool us completely, at least cause us to question our understanding of what’s going on. ‘Dazzle’ camouflage as used on battleships, animal camouflage, etc. All are designed to confuse our understanding of a subject so why not try to flip the effect?
I think the sense of pattern created by the juxtaposition of painted lines and gaps between them helps. It seems to break down what would otherwise be a more traditional depiction, flattening the painting onto its 2D plane.
The paintings are quite large and currently seem to fall into two camps. In one, I treat the image in a slightly more ‘popish’ way, (bolder pose, colours and even the addition of the odd symbol worked into the background). They’re more forthright. In the other, I’m trying to make the overall feel more contemplative, even recessive.