Canadian 1960

Artist Statement

“Colour is of prime interest in my work, conveying mood and a sense of beauty and sensuality. I use relatively flat areas of colour to emphasize that the painting is an entity in itself rather than a representation of an object. The use of pattern that unites the foreground and background, and an avoidance of the use of perspective, enhances this approach. I am not trying to create an illusion of reality but rather a new version of it.

My most important influences are the works of Klimt, Matisse, Modigliani and Gauguin, as well as sources as diverse as Japanese prints, Persian motifs and the textile patterns of 18th century Europe. I see my art as a dialogue between my imagination and the past, but the actual experience of painting does not come from an intellectual place. When I stand in front of the canvas I may have a vague idea or specific inspiration that begins the idea for the painting - it may be a combination of colours, a pattern or the model's pose that begins the idea, but the painting then seems to paint itself - revealing itself as much to me as it does to the final viewer. I do not begin with preparatory sketches or a defined composition in my mind so that the process of creating the painting remains exciting and mysterious to me.

I draw the composition directly on to the canvas with the brush, beginning with the figure or pot of flowers and creating the surrounding environment as I go. When the composition is completed with the various elements in place, I then begin the underpainting. After a few days when the underpainting is dry I apply more layers of paint to the surface, allowing the colour of the underpainting to show through, creating a richness and a debth to the surface colour. This method requires that I have several canvases on the go at the same time, starting another while the underpainting dries on the previous one. I use a model for my figures or a pose from an old master's painting, however the faces are from my imagination, the features generalized to suggest a universality rather that a specific person. The still life may come from a bouquet on my table, an arrangement in my garden or many times they simply erupt full blown from my imagination.'