The materials I use are very important to me. I am exploring their power and their potential; how water, wax, thinner, bitumen, shellac and paint react with each other, and their effect on the paper or wood. The paints, the chemicals in my hand, have an energy of their own; they combine to build new colours; it is a process, a physical experiment.
I let the chemicals go into the paper, investigating the physical character and limits of the materials.
When I am working I feel the materials and try to stay connected with that sensation and allow my feelings and the materials to guide the result. I feel for the reactions among the materials; these are also comparable with similar reactions in nature on a larger scale.
The end result of these vigorous physical interactions is calm, still and quiet.
At the heart of my recent work is an investigation into the relationship between the tangible and the intangible and our ability to express or recognise one in the other.
I have curved flat surfaces of Somerset paper into three-dimensional objects – creating a cross between painting and sculpture that has given a different scope to my work. Putting two-dimensional work in three dimensions creates an inner space within the work that cannot be perceived; and an outer space that is shared with the observer.
The heavy paper is transformed by the chemicals in the paint and thinner, penetrating the surface to create something new. In some cases smoke is used, capturing the dying moment in the creation of fractal shapes on the paper. Their existence connects with my momentary existence, overlapping briefly in time with the materials to create something new and independent.
The work is what it is, with its own sombre presence, character and gravity. It is non-representational, a combination of paper and other elements, standing on its own merits.