Concepts:- I have been painting for many years - and during those years I have moved from the 'abstract' to the 'representational'. I put these words in quotes because I have found them to be conveniences; labels which convey a token idea in a superficial way. So - even the most 'abstract' of works in appearance can be the most accurate representation of what I see that I am able to produce (Door, Bodmin General). The converse of this, of course, is that the paintings which may appear to be purely representational have been abstracted from the totality of what is around me and given status from the structure which is perceived in this little bit of that totality (Cafe, Bodmin Moor). Many of the pieces are square - I find this format, together with a full 'square-on' view, presents a starting point of inarguability. There is a purity about the square - it does not depend on taste or fashion or some arbitrary set of 'rules of composition', while to confront your subject without fancy angles or tilted perspectives gives you an 'open face'. This then gives me a structure without frills and initiates a dialogue - albeit with side references and digressions - which I hope will progress towards a definitive statement. The aim could be said to be a kind of Mondrian with imagery.