I was born - I started to paint - then it was now.
Painting has been my life from as far back as I can remember. For me, the process of painting is a personal dialogue which explores the relationships between us and the perceived world. In a sense it's the activity that lets me know that I'm living. My influences are quite varied - from Signorelli to Pontormo, Turner to Sutherland, Pollock to Hodgkin and Monet to Richter, among others. It's not always easy to see how these influences work, but these are the artists that make me want to paint.
My response to local landscape is different this time. From representation the work has evolved into a more intuitive manifestation of response. Each painting tends to emerge from the mix of pigments, resin and medium in a spontaneous fashion, mostly in spite of my interference. And not at any location in particular, but more of a reaction to the visual experience of landscape generally and it's transient relationship to light, weight of weather and texture. There is a good deal of the accidental moment about this application and, as reflected in the ephemeral climate of the locale, a decent slice of luck is required for a sunny outcome.
I have travelled a good deal during my career - in Europe, the United States, North Africa and a small part of Asia, sometimes staying for extended periods, my method and application being directly influenced by place . Despite my travels, I do have a natural home, though it's not really a place as such. It's a view. That across Morecambe Bay and north to the Lakeland hills, a view I've obsessed over since childhood.
I expect my paintings are some kind of synthesis of all the above, I don't really know. I'm not even sure that it's necessary to know. Literature is for telling the story, art is for telling how the story feels.