Yin/Yang is the biggest painting I've ever done and it took the longest time and the most grief and ultimately, the most satisfaction. As it became a struggle to complete, I diverted my attentions to doing some small abstracts, which were a lot more fun and quicker to do. These became the genesis of the later geometric pics. This is the only decent photo I've got of the painting, which was taken at the "Open End" exhibition space in 1994. The image comes from a corridor at Heathrow airport. • 1992-4 • 600 x 200cms / 236" x 79" • Oil on canvas
These were painted in the early 1990's at the studio in Carpenter's road that I shared withe artists Neil Paterson and Tim Higgins, next door was Rachel Whiteread, below were Grayson Perry and Fiona Rae. It was a hive of activity. These paintings were my serious art paintings. The one I wanted to show, to myself, as much as anyone else that I could actually paint properly and recognisably and well and in oils not acrylics. And I could, and did. But I stopped after a while, because I prefered doing work that is more, well, colourful for a start. On reflection they are a bit gloomy these ones in terms of subject matter and colour hues I was using, dark greens and azure and turquoise. Some may find these paintings a bit dark and gloomy or frightening or paranoid inducing or alienating. I guess that's the result I was looking for but I also wanted there to be a certain beauty about these environments. 1989-92 • Oil on canvas • 200 x 140 cms / 80" x 55"
The five paintings here are from a series of seven, the first two were not so good. The later ones aftre the 7 were moving on into a different type of painting with a different meaning. They became more abstract and were about the forms of the tunnels. The colours became bluer, and I started experimenting with diptychs. The culmination was "Ying-Yang" which is the large diptch pictured at the top of the page. The paintings in this series date 1989-92 • Oil on canvas • 200 x 140 cms / 80" x 55"
In Between is my favourite, it's my most accomplished of the 7 "tunnels" paintings. These paintings are from a series of seven I painted in this size and format. The first two were like prototypes and were not quite precise enough to be viewed as "photorealistic". These paintings reflected the more sober mood of the early 1990's and a more serious world. The hedonistic 1980's city banker boys had got cold feet in the new decade. The first Gulf war was starting and there was a recession bedding down and things seemed bleak, so these paintings were apposite to the uncertain winds in the air. Thatcher was out, but the Tories were still in with a strange grey man called Major who looked like an accountant and spoke like a dalek. 1989-92 • Oil on canvas • 200 x 140 cms / 80" x 55"
After these followed the tunnel paintings that were in the form of diptchs - or mirror tunnels. DUPLEX, AZIMUTH and YIN/YANG. I am more of an optimist than the other way, so these paintings developed into being more about creating an abstraction from photorealism using shape and form, rather than a psychological message conveyed by the paintings ones further above which may give a sense of isolation and confinement, alienation and unsettling situations. Maybe. 1994 • Oil on canvas • 120 x 160cms / 48" x 65"
|Early Abstracts||Geometrics||Button Abstracts|
|On this page are examples of my early abstract work, which dates from the mid 1980's to early 1990's.||On this page are examples of my later figuarive work, which dates from the 1990-recently.||On this page are examples of my abstract work where I uae both surface and form and colours.|
|Early Figurative||Later Figurative||Recent Figurative|
|On this page are examples of my early figuarive work, which dates from the mid 1980's to 1990.||On this page are examples of my later figuarive work, which dates from the 1990-recently.||On this page are examples of my latest figuarive work, which is what I have making recently.|