Megalomania
Oil on Canvas
2014
74 x 74 cm


Megalomania is an experimental piece that directly relates to the processes used in previous paintings Dead Souls and Dreambender. The title of this painting references a Rene Magritte painting, which also features cubes within his sky formations, and the 1991 computer game.

Megalomania

Oil on Canvas

2014

74 x 74 cm

Megalomania is an experimental piece that directly relates to the processes used in previous paintings Dead Souls and Dreambender. The title of this painting references a Rene Magritte painting, which also features cubes within his sky formations, and the 1991 computer game.

24 Hour Party People
Oil on Canvas
2014
79 x 120 cm

This is an experimental piece using optical illusions to fragment the scene. Basically I wanted to see if the effect of movement created in optical illusions could be recreated within a painting. “The distinguished electro-neurologist Semir Zeki believes that these patterns directly stimulate regions of the brain in cortical area V5, to produce sensations of movement even though there is no movement in the stimuli.” (Gregory,2009:139) So by trying to replicate an optical illusion within the cloud formation I create in my skies perhaps I could create a painting that moves. “It is significant that for the jazzing effect the particular shapes do not matter; what matters is the repeated, close-together high contrast lines” (Gregory,2009:140)


Gregory, R. (2009) Seeing Through Illusions. Oxford University Press

24 Hour Party People

Oil on Canvas

2014

79 x 120 cm

This is an experimental piece using optical illusions to fragment the scene. Basically I wanted to see if the effect of movement created in optical illusions could be recreated within a painting. “The distinguished electro-neurologist Semir Zeki believes that these patterns directly stimulate regions of the brain in cortical area V5, to produce sensations of movement even though there is no movement in the stimuli.” (Gregory,2009:139) So by trying to replicate an optical illusion within the cloud formation I create in my skies perhaps I could create a painting that moves. “It is significant that for the jazzing effect the particular shapes do not matter; what matters is the repeated, close-together high contrast lines” (Gregory,2009:140)

Gregory, R. (2009) Seeing Through Illusions. Oxford University Press

Harvest Moon
Oil on Canvas
2014
100 x 100 cm

This piece was created for entry into the Bishops Prize 2014, in which the theme was the season of the spirit. Using the fruits of the spirit as a starting point, I began thinking about autumn being the season of mists and mellow fruitfulness as well as being the season of harvest.

Using this as a base I collected imagery which not only represented this, but also my own way of working, as well as referencing the paintings of Samuel Palmer, who depicted this season so successfully.

Harvest Moon

Oil on Canvas

2014

100 x 100 cm

This piece was created for entry into the Bishops Prize 2014, in which the theme was the season of the spirit. Using the fruits of the spirit as a starting point, I began thinking about autumn being the season of mists and mellow fruitfulness as well as being the season of harvest.

Using this as a base I collected imagery which not only represented this, but also my own way of working, as well as referencing the paintings of Samuel Palmer, who depicted this season so successfully.

Deja Vu
Oil on Canvas
2014

100 x 100 cm

Deja Vu

Oil on Canvas

2014

100 x 100 cm

Dead SoulsOil on Canvas2013/14105 x 140 cmIn this series of three paintings I am individually exploring the three genres of landscapes I am involved with, the city, the natural and the metaphysical. The sole aim for this series was to not only continue the exploration of techniques that enable the deconstruction of imagery through a process of fragmentation and manipulation, but essentially to experiment using these processes on any genre of image in order to help me to push the deconstruction techniques further. The idea with Dead Souls was to try and deconstruct the image through a process of painting different areas in different styles, something experimented with in previous paintings, but instead of using architecture as a reference point for the fragmentation I wanted to try a simple optical illusion.

Dead Souls
Oil on Canvas
2013/14
105 x 140 cm

In this series of three paintings I am individually exploring the three genres of landscapes I am involved with, the city, the natural and the metaphysical. The sole aim for this series was to not only continue the exploration of techniques that enable the deconstruction of imagery through a process of fragmentation and manipulation, but essentially to experiment using these processes on any genre of image in order to help me to push the deconstruction techniques further. The idea with Dead Souls was to try and deconstruct the image through a process of painting different areas in different styles, something experimented with in previous paintings, but instead of using architecture as a reference point for the fragmentation I wanted to try a simple optical illusion.

Twenty Four Hours
Oil on Canvas
2013
105 x 140 cm
 
In this series of three paintings I am individually exploring the three genres of landscapes I am involved with, the city, the natural and the metaphysical. The sole aim for this series was to not only continue the exploration of techniques that enable the deconstruction of imagery through a process of fragmentation and manipulation, but essentially to experiment using these processes on any genre of image in order to help me to push the deconstruction techniques further. Although these paintings derive from completely different sources I find that I can still make connections between them. The important factor within Twenty Four Hours was the iconic nature of the source material, if the deconstruction is successful then origin and connotation of this, at least at first, would be masked be the alternate view created within the surface of the canvas.

Twenty Four Hours

Oil on Canvas

2013

105 x 140 cm

 

In this series of three paintings I am individually exploring the three genres of landscapes I am involved with, the city, the natural and the metaphysical. The sole aim for this series was to not only continue the exploration of techniques that enable the deconstruction of imagery through a process of fragmentation and manipulation, but essentially to experiment using these processes on any genre of image in order to help me to push the deconstruction techniques further. Although these paintings derive from completely different sources I find that I can still make connections between them. The important factor within Twenty Four Hours was the iconic nature of the source material, if the deconstruction is successful then origin and connotation of this, at least at first, would be masked be the alternate view created within the surface of the canvas.

American Skies
Oil on Canvas
2013
70 x 100 cm

 
This painting is part of a series of works that relate to each other but also can stand alone.  The major breakthrough with this piece came when reflecting on an unintentional effect that had been created during the painting process. This painting encompasses the fragmentation and deconstruction of imagery I have been working on throughout this series and want to take forward into new work.

American Skies

Oil on Canvas

2013

70 x 100 cm

 

This painting is part of a series of works that relate to each other but also can stand alone.  The major breakthrough with this piece came when reflecting on an unintentional effect that had been created during the painting process. This painting encompasses the fragmentation and deconstruction of imagery I have been working on throughout this series and want to take forward into new work.

Regret
Oil on Canvas
2013
70 x 100 cm

 

This painting is part of a series of works that relate to each other but also can stand alone.  With this painting as I was working directly from a 35mm slide there was no possibility for manipulation of the image before the painting process yet I was still interested in doing so to create tension within the surface of the canvas. I attempted to do this with the fragmentation of detail within the focal planes of the image and the importance of capturing and enhancing the luminosity of the scene.

Regret

Oil on Canvas

2013

70 x 100 cm

 

This painting is part of a series of works that relate to each other but also can stand alone.  With this painting as I was working directly from a 35mm slide there was no possibility for manipulation of the image before the painting process yet I was still interested in doing so to create tension within the surface of the canvas. I attempted to do this with the fragmentation of detail within the focal planes of the image and the importance of capturing and enhancing the luminosity of the scene.

Dreambender
Oil on Canvas
2013
70 x 100 cm

 

This painting is part of a series of works that relate to each other but also can stand alone.  I wanted to mask off certain areas mid-way through the painting process in order to create tension within the painted surface, the masked areas relate back to the window frames of Sovereignty house depicted in previous work.

Dreambender

Oil on Canvas

2013

70 x 100 cm

 

This painting is part of a series of works that relate to each other but also can stand alone.  I wanted to mask off certain areas mid-way through the painting process in order to create tension within the painted surface, the masked areas relate back to the window frames of Sovereignty house depicted in previous work.

Lenses
Oil on Canvas
2013
70 x 100 cm

 
This painting is part of a series of works that relate to each other but also can stand alone. As I worked on all four paintings simultaneously the various ideas and techniques used for each painting fed into one another helping with the progression of the paintings as well as linking the work in series.

Lenses

Oil on Canvas

2013

70 x 100 cm

 

This painting is part of a series of works that relate to each other but also can stand alone. As I worked on all four paintings simultaneously the various ideas and techniques used for each painting fed into one another helping with the progression of the paintings as well as linking the work in series.

Obstacle Two
Oil on Canvas
2013
76.2 x 76.2 cm

 
I began this painting with the intention of using purely an addition of detail in order to suggest certain connotations, but ended up adapting it in response to the successes of Obstacle One.

Obstacle Two

Oil on Canvas

2013

76.2 x 76.2 cm

 

I began this painting with the intention of using purely an addition of detail in order to suggest certain connotations, but ended up adapting it in response to the successes of Obstacle One.

Obstacle One
Oil on Canvas
2013
76.2 x 76.2 cm

 

The main thought process behind this painting was purely an addition and subtraction of detail in certain areas in order to create a landscape that is in a permanent state of flux and transition.

Obstacle One

Oil on Canvas

2013

76.2 x 76.2 cm

 

The main thought process behind this painting was purely an addition and subtraction of detail in certain areas in order to create a landscape that is in a permanent state of flux and transition.

Futureworld
Oil on Canvas
2013
61 x 76.2 cm

 
With this painting my intention was to work relatively closely to the original imagery, yet at the same time imagine how the building would have looked when it was first erected. Playing with the idea that this is now an unwanted ‘eyesore’ building, but instead of depicting it in that way, make it look new, fresh and exciting. A vision of the future taken from a relic of the past.

Futureworld

Oil on Canvas

2013

61 x 76.2 cm

 

With this painting my intention was to work relatively closely to the original imagery, yet at the same time imagine how the building would have looked when it was first erected. Playing with the idea that this is now an unwanted ‘eyesore’ building, but instead of depicting it in that way, make it look new, fresh and exciting. A vision of the future taken from a relic of the past.

Colourvision
Oil on Canvas
2013
61 x 76.2 cm

 
Taken from the same image used for Fairlight, Colourvison is intended to be a test painting, or rework, using purely shape line and colour to reinvent the imagery in a simplified context. Colour was the main focus for this painting, especially the exaggeration of it, and the ability to blend it together and with a strong use of gradients in certain areas.

Colourvision

Oil on Canvas

2013

61 x 76.2 cm

 

Taken from the same image used for Fairlight, Colourvison is intended to be a test painting, or rework, using purely shape line and colour to reinvent the imagery in a simplified context. Colour was the main focus for this painting, especially the exaggeration of it, and the ability to blend it together and with a strong use of gradients in certain areas.

FairlightOil on Canvas201361 x 76.2 cmThe next 3 paintings are based on images I took of the building opposite my studio, Sovereignty House, built in the 1960s this now derelict building is considered by some an eyesore, but must have once been an exciting new building. I view this building every day and I wanted to celebrate the beauty of this now unwanted and derelict building. I was particularly interested in enhancing and exaggerating the colour during the process of transferring this image from photograph to painting.

Fairlight
Oil on Canvas
2013
61 x 76.2 cm


The next 3 paintings are based on images I took of the building opposite my studio, Sovereignty House, built in the 1960s this now derelict building is considered by some an eyesore, but must have once been an exciting new building. I view this building every day and I wanted to celebrate the beauty of this now unwanted and derelict building. I was particularly interested in enhancing and exaggerating the colour during the process of transferring this image from photograph to painting.