The Lengths (Tower of Pisa) Painting

As a painter, primarily working in oils, there is a necessity that each piece be acknowledged and viewed as an entity in itself. While at the same time, all have a distinct contribution to the formation of a substantial voice. Furthering to try and meet the dare of painting, an approach to each surface invariably has to be one in which there is a constant grapple with dissatisfaction. Previous paintings can be spliced up, reconfigured and threaded anew. Various soiled baize material from gaming tables are known to become involved. The work requires itself to be blatantly of the hand, roughly hewn while shipshape. A staunch belief in a developed visual language resides throughout – of mark-making in cohorts with colour. And with rhythmical depth; a subversive, solemn opposition to decorum can reveal itself. The filtering of source material by way of memory occurs amid the incessancy of images we are subjected to – and are subject to. The nuptials that can occur in those fleeting moments between paint and surface are why the why is why. Summarily, I tend to invent events in a visual sense. To engage with painting can play this way.