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.
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.