I am greatly affected by light- this may have something to do with having grown up in Dallas, Texas with its very harsh light. After living in England for 20 years, I am still painting this strong Dallas light onto everything.
My main interest is in light and the emotional, psychological and visual effects of its patterns on man-made structures such as buildings and interiors. I am also interested in the reverse of this: the shadow- which is the negative space of light. Light and shadow create a kind of geometry that I abstract/minimize to a certain extent, so as to focus on form rather than content.
In addition, I like to play with elements of perspective, hovering between ideas of flatness and depth on the picture plane. Colour is another vital element to my work: each painting is a study in colour– investigating new colour combinations and the way different colours change each other depending on the colour(s) they are near. I also use colour to express light– sometimes using the brightness hierarchy of colours to delineate what would, in black and white, be light and shade, but also often playing with nontraditional uses of colour (for example, using cool colours to express light or using warm colours that 'come forward' for background spaces so as to compress the picture plane).
|Pollock-Krasner Foundation||Winner||Sat, 08/15/2020|
|Publication Title||Job Title||Date|
|Evening Standard||Our Readers put London in the Frame||Mon, 10/16/2017|
|Tom /// Out||SOFT TARGETS:INSIDE THE SHADOW AT ARTHOUSE1||Fri, 04/14/2017|