The majority of my paintings are abstracted images that are reminiscent of landscape, with implied perspectives and blurred distinctions.
Abstract forms invite analogies; plough marks, cloud, water, horizon lines.
It is the ambiguity of marks and colour relationships that interest me and the vague narratives that develop with each piece.
In my latest work, my fascination with landscape continued. The traditional /contemporary juxtaposition inspires me and there remains a narrative which explores a visceral response to our landscapes. I have been exploring the concept of 'invisible threads of communication' that surrounds us in modern society, the unseen, the unknowable, whilst relating to an intuitive personal dialogue that connects me to the landscape of our ancestors.
Just before the pandemic, I began working on a series which explores
DNA; design blocks that connect us to all living things, I was especially interested in the phylogenetic tree diagram, which refers to the evolution of a tree and to our own collection as beings that have a concealed layer of history.
Visually representing how life is related, presenting a timeline for the evolutionary history of organisms.
I have used the tree as metaphor which developed further into a series called ‘Circle of Life’ in this body of work I have wanted to highlight the beauty that we are connected to all living things and that we are especially reliant as a species on the magnificent, varied trees in our landscapes. We are in in the throes of such a delicate balance of flourishing or diminishing.
I have often used the circle as a window that looks through a concentric band of circles into a light/dark filled sphere.The bands representative of life and time passing lead us to a mystical/ hopeful place. There is often a central tree, redolent with life, stretching its branches out, forming an open welcoming gesture. Metal leaf is symbolically used as a naturally found material, it provides a reflective colourful surface that changes with light and positioning.