My aim, I suppose, is to portray through the study of nature (remade in paint) something which is in itself, as subject matter, moving and evocative. Things that somehow speak not just of themselves, but that also hint at the eternal and profound. Themes in nature which seem to overlap and repeat, to relate and unite life with a common hand.
    I am also very interested in the actual process and forms in painting. The physicalities and structures involved in representing something known, and the pressures required of the artist in remaking something specific:
by using whatsoever means to deny the two dimensional surface. That the result might, at it's most successful, be both moving and beautiful.


    (Written in response to the more abstracted appearance in the work)

    To put this new work in context:-
If the previous work was a documentary of nature as witness, revealing in the 'physical' the expression of a hope and longing for a truth deeper and more poignant than their surface betrays. Then perhaps the new work is something of an epiphany that finally reaches past the veil , of the physical, and soars with new eyes and life:
to live by 'spirit'. To exponge the doubt, to have the shackles broken, and to fly unfettered with a grace, and hope, and glory. To forge forward, burning brightly through the long night of this scene. At last to awake when faith gives way to sight. This little while ..,
    The paint is unforced and unselfconscious now, and the vision necessarily notated simply, reverently: finesse and virtuosity giving way to quiet medative observance, accepting the simplicity of the act in the moment of it's creation, as in the gift of it's vision.

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