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“Painted from memory, this painting has an intimate human dimension, a down to earth feel even though the eye is directed towards the iconic mountain. The sugar Loaf’s statuesque presence bathed in the moonlight has a dream-like quality that's enhanced by the gorse bushes glowing in the foreground.”
“It is the end of another warm autumn day. The day light has died out taking away the rush and anxiety. What is left is the splendor of the autumn dressed trees. Their light will never die. Each leaf has captured during the day millions of sun kisses, billions of sun rays. So the trees can now emit its own light.”
“The first time I saw a swan was in a depiction of Goddess Saraswati sitting and playing the Veena on a beautiful white bird. I fell in love with the milky whiteness, the curvaceous neck and the beautiful depiction of plumage. Somehow the image of that bird got stuck in my memory. Somehow that bird symbolized serenity and grace for me. The story of ‘The Ugly Duckling’ only enhanced this image in my mind. Today, when I look back at my obsession with the lovely bird in my growing years, I feel I was searching for the swan in me all along. I am not yet sure if I, ‘the ugly duckling’ have matured into a swan, but this painting is my humble offering to those birds who glide and dance in water captivating me with such beauty, grace and tranquility.”
“This painting is not the stereotypical portrait of a woman; this subject challenges and confronts, she is not to be messed with. I wanted to capture the intense stare. We are viewing her from below which adds to her power and authority. The colour is bold and the mark-making intentionally visible to heighten the expression of the piece.”
“With this painting I wanted to create a fragmented geometric field of pure colour, built up in layers of varying tonal intensity. The final work evokes the reflective surfaces and fragmented space of urban architecture, or light filtering through stained glass.”
“It was raining but this starling was full of the joys of spring, parading around in his mating plumage. Very fine he looked too, all those iridescent colours in his feathers. He was singing prettily too.”
“This painting is one of three paintings that explored local rocks collected on my travels around the island, looking for Prometheus within the rock. Through daily observation I painted the shifting light, colour and forms that would appear to me as I sat quietly with the rock, in this case Serpentinite. Like Michelangelo I was seeking the hidden forms within the rock and using paint to bring them to the fore - releasing the image from the rock, the sword from the stone through the alchemical processes of the mind seeking the image within all objects. In the preparation of the canvas I had also placed a thin layer of gesso (chalk) mixed with bone glue, allowing the layer to crack during its production and when I had to roll the painting for its journey back to England.”
“I wanted this piece to have a serene, soft feel to it. So the challenge became working the intricate rigging of the ships into the sky without the rigging standing out too much and overtaking the painting. The sky is Impressionistic in style, with brushwork evident. Working the lines into an Impressionist sky was very challenging, but in the end very rewarding. I currently have this painting hanging in my studio and it is one of my favorites.”
“When I'm not painting I can often be found on top of a windy hill flying large model gliders. The views are sometimes spectacular and a reliable source of potential subject matter. Here I've combined several views from the top of Bo Peep on the South Downs to Thurnham on the North. Moody clouds and light shining off the reservoir give a sense of openness.”
“From my "Memories of Italy" series, this atmospheric, nostalgic piece remembers Venice with its tranquil walkways, unique architecture, maze of canals and the glorious St Marks Basilica as it may have been in times past. And even now, visiting Venice is almost like stepping into lost era. I love it.”
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