About

Introductory Statement

In June 2011 I made the decision to take a space in a local artist studio. One of the best things I have done. Since then I have been working productively and built up a body of work, and as of December 2011 I have been entering competitions and achieving some success; I was selected into the final show of the ‘Threadneedle Prize’ 2012, where a reproduction of my painting was used on the invitation; I was also longlisted for the ‘Neo Painting exhibition’ and the ‘National Open Art Competition’. Although I have been painting and exhibiting for some years it is only since joining this newly established art studio that I have had the space and time to commit to developing myself professionally and begin to seek a wider audience for my work.

Artist Statement

My art is concerned with the Diversity of Identity and creating images which manifest an awareness of human presence in, and perception of, a physical world. How is it that one thing stands out against another, why is one thing more important than another? The subjects I choose come from a distillation of many experiences and feelings. Being and life don’t follow straight lines, thoughts and feelings are continually pushed, pulled, diverted, fragmented or clumped together. As my thoughts consider new ideas and observations, so painting and drawing for me becomes a process of creating images which evoke a sense of: self; relationship; engagement; humanity; mortality: with most containing a symbolic reference to: human presence; lack of human presence; the material and substance of living; and of time, past, present and in the making. Influences Goya Casper David Friedrich | JM Turner Paul Nash | Graham Sutherland Edward Hopper Gerhard Richter | Luc Tymans Petter Doig

Exhibitions

Solo: 2002 – Gregson Community Centre – Lancaster 2004 – Gregson Community Centre – Lancaster 2005 – Dukes Theatre – Lancaster 2006 – Whale Tail Cafe– Lancaster 2006 – Gregson Community Centre – Lancaster 2007 – Whale Tail Cafe– Lancaster 2012 – Gregson Community Centre – Lancaster
Group: 2005 – Solaris Centre – Blackpool 2008 – Quicksands Open Studio – Morecambe 2011 – Brewery Arts Centre – Kendal 2011 – Ellel open studios 2012 – Lancaster Library – Lancaster 2013 – The Atrium – Lancaster University 2013 – One Planet – The Dukes – Lancaster 2013 – The Thomas Storey Room – Lancaster

 

Competitions

2011 – Milnthorpe Open Art Exhibiton – Selected 2012 – Neo Art Show – Bolton – Long Listed 2012 – Threadneedle Art Show – Selected 2012 – The National Open Art Competition – Long Listed 2013 – Threadneedle Art Show – Long Listed 2013 – Milnthorpe Open Art Exhibition – Selected

 

 

Biography

Most of my life has been spent living close to the coast and countryside along the North-West Lancashire edge of Morecambe Bay. In this area there is a unique juxtaposition of hills with open expanses of land, tidal flats and sky. Most of my growing up was done living in houses which were separate from the nearest village with the consequence that going anywhere meant the first part of any journey was always through open countryside. Within this setting it was easy to find a sense of isolation and timelessness, themes which often occur in my paintings drawings and print-work.

Education

1998 – 2001 BA (Hon) Performing Arts (2i) St Martins College – Lancaster 2003 – 2005 HND Fine Art (Distinction) Blackpool and Fylde College – Blackpool

My Values

My current practise is concerned with producing original paintings in acrylic. I work on a mixture of surfaces: canvas, different types of board and paper mounted on board. Each surface accepts the paint in different ways allowing for subtle variations of effect as the paint is applied. Brushes of varying shapes and sizes are my preferred method of apply paint and glazes. From some of my early watercolour paintings I had prints made, which I continue to sell. However, painting with acrylics has increased my awareness of the value and importance of the marks and texture of the painted surface, how they can become integral to the composition. This I feel to be an important aspect of not only the finished painting and how it catches the light but, also of the experience of viewing a painting. I believe there to be an immediacy which comes from standing in front of an original painting which can not be achieved by a print; the thickness of paint, the edges, the bristle marks of the brushes, the subtlety of blended colours which are difficult to replicate faithfully in a print. It is for this reason that I have chosen not to have prints made of my paintings and only sell originals. The only concession I make is the production of postcards and greetings cards to a maximum size of A5: these I see as reminders of the work rather than taking the place of the original. I also feel that if glass is placed over the face of a painting it creates a barrier which limits the connection between the viewer and the work and creates an unnecessary obstruction. Therefore all my acrylic works on paper are protected by acrylic glazes and need not be housed behind glass.