For some time now I have utilized a methodology for my paintings which involves discreet stages of production. I begin by painting panels of board in enamels and oils, and scraping them back much like carving. After this, the panels are cut into smaller rectilinear components with a table saw and a guillotine. I then assemble these components into configurations which have new relationships and tensions.
My paintings are informed by a combination of my working environment, intuition and memory. My studio has a large opening giving me light and a mixed outlook of Australian eucalypts, cultivated gardens and a sporting oval. The paintings I produce here have many references to this environment, although I find many other influences sneaking in: things from trips I have done, paintings I have seen, and daily life in general. I feel most at home in nature, and in the sun. I see my work as a type of verification of what I see and experience all around me. My interest in Abstraction began early on when I noticed that I was fascinated by the abstract vitality inherent in fragments of nature and incidental marks on urban surfaces. As a painter, this interest grew into an interest in a pictorial language which could synthesize things I was looking at and feelings I had; an intuitive treatment of materials and techniques which is indebted to the world around me.