Monday, 4 May 2015


The origination of painting the land begins its journey En Situ in the Plein Air. The creation of miniature Landscape studies, depicting the topographical detailing and forms of the land depict an affinity and connection with the natural surrounding.

These formal elements provide a schema of information about the surrounding world, which can be developed further, in the studio environment, through the exploration of the material qualities of oil paint.
Utilizing the studies as a framework and narrative, the journey through gesture, the laboring marks of the artist at work and a layering of texture and marks through paint, allow for an imaginative, spontaneous and abstracted response to a rather formal first impression of the land.

Accomplishing a BA HONS at The University of Lincoln, allowed me to explore the natural environment of Lincolnshire from an agricultural and coastal perspective.

However new endeavors in London, where I’m currently undertaking an MA in Fine Art at Chelsea College of Art & Design, have lead me to explore the narrative of the manmade and natural, coexisting in this dense urban environment, which is challenging my adaption through paint.

Marlene Dumas, I believe, has identified an intrinsic element of my practice.

‘What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so-called figurative artists insist that what they really care about is the abstract qualities of life.’

I’m interested in capturing nature in a snapshot, identifying 
elements within a composition, which I believe would be both challenging and gratifying to paint. This first contact with the land is intensely figurative and perhaps does locate an essence of the mundane abstract qualities of life. Through identifying this visual reality, the challenge remains in how to abstract it and contest it through the materiality of paint.

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