I begin by immersing myself in the landscape, returning again and again to the woods, rivers and shore. Looking deeply, writing detailed descriptions of what I’m seeing and hearing. Making sketches, taking photographs and noting down thoughts and ideas. From this deep observation I paint informed by the living memory of place. I find that working from memory allows for freedom of interpretation and enables me to add invented and imagined elements. I also use found object such as shells, stones, leaves and flowers to provide physical references and sometimes use these objects to print paint directly on the canvas or paper. Poetic text is often included as part of the work, adding an additional layer of meaningful marks which become part of the painterly landscape.
Many of my paintings are composed of multiple (often transparent or semi-transparent) layers of paint, which are built up, and sometimes removed to leave traces. My engagement with the process of painting is focussed and physical and most of the time I have no idea what the finished piece will look like. In a sense I am in dialogue with each painting, constantly questioning. As a result of this process each work is unique and cannot be reproduced.