Blue Study III Painting

In many ways my painting practise couldn’t be simpler. I start each work by placing a random selection of paint into a dispensing gun. With this I distribute blended dots of colour across the painting surface until the field is covered. The painting is then finished. There is no editing; I only get one chance. This constraint is very liberating: the latent potential of the paint in the gun could describe near infinite worlds but ultimately a single image will emerge. I no longer have to consider when a painting is finished. This process has been fairly consistent over the years. What has changed is the way that I consider the slowly evolving trail of paint and the ways that it might equate to the visual world. In the past year I have also started working on some paintings using more traditional methods. Working very close to the canvas I fill in the area using lines and colour fills. Only then do I step back to see the composition. Rotating the canvas I will edit the image, sometimes erasing or combining areas until it feels resolved. As with the pixelated work I want to land on an image by chance. I've been a practising artist for over 25 years and my work has been featured in various publications, notably Frieze magazine (Greg Hilty on Pascal Hervey issue 35). I welcome the opportunity to discuss my work further.