My references, as a painter, are embedded in History Painting and literature, especially from the Romantic Period, as well as historical events and Natural History. Recently I have tended to make either heavy, architectural spaces, or open, airy, damp ones. The solid, complex constructions in certain paintings, often look rather schematic, model like or theatrical. In contrast, the simple, elemental voids in other works have a rarefied yet thick quality, like the Seventeenth Century notion of ether. The excessive, dystopian architectural fantasies of the latest works, were inspired by Dante's Inferno, and the notion of Pandemonium, the place of all demons; the capital city of Hell in John Milton's Paradise Lost. Joseph Gandy and John Martin in the Nineteenth Century, made uncompromisingly monumental paintings representing this literary creation. These works tend to be between 2-4m long and high. The airy/watery voids, the contrasting works, increasingly contain single structures taken from historical events, literature or Natural History, and are more restrained and minimal. They are weighty or large massed beings, metaphorical beings, or anatomical allegories. Moby Dick is a major influence, blasphemous and immaculate, real and unreal, dead and undead...The latest of these kinds of works is Terraqueous, a suspended whale 'puppet', 5m long. Model making and photography have come into play as resources for paintings, and then in themselves they have taken on some unexpected individual presence. read full statement

Location Libourne