Tell us a little bit about how you work

I tend to work in the studio and always in oil. I started painting in oil at college and have never really wanted to use any other medium since.  The intensity of the colour; the pliability; the smell; the texture…I could go on! 

Although a lot of my work is Still Life or Landscape, I am not interested in representing an actual view or composition - I never have a vase of flowers in front of me in the studio and I don’t paint particular places.  Travelling is definitely a huge influence and is very important in my work but I like to let what I see sink in over time and then try to capture the atmosphere of it later. The work is more about memories or reactions rather than accuracy.  I do make compositional mini sketches and colour notes, and take photographs of shapes or compositional elements for reference.

When I start a new work the first thing I think about is whether it is a hot or cool painting,  no matter the subject. The overall colour combinations can be influenced by what is happening in my life  - or what is in the news.  If it is cool I start by painting layers of hot colours. That sets up a dialogue between the layers  - then the random little flecks of underpainting come through to the surface and give depth and zing to the finished work.

Influences?

Oooh so difficult and it something that changes all the time but some of the artists who have stayed with me include Keith Vaughan, Graham Sutherland, Joan Eardley and Sir Robin Philipson. 

When you discover an artist for yourself - it is like the first time other people hear a particular song or band that stays with you forever. I love that lurch of the heart or being stopped in my tracks. Studying Art History could often seem a bit dry, no matter the quality or importance of the work, so it was a thrill to discover contemorary, dedicated painters, revelling in the actual paint and producing, to my mind, really accomplished and exciting new work - it seemed much more relevant to me as an aspiring painter………

………Sir Robin Philipson was someone who I became obsessed with (actually still am) at Art School. I was captured by his energy, the way he handled paint, the way he frequently split the canvas.  He would tell similar stories but with new energy, different subtleties every time. 

Joan Eardley, is someone who was a huge influence on Scottish painting in the second half of the 20th Century. Her work is so full of movement and she could grasp the essence of a figure in a few strokes or just as easily capture a wild and breathtaking seascape. Joan Eardley has become much better known outside Scotland recently - but definitely ranks as one of the greatest British Painters of the 20th Century - if you don’t know her  - look her up!  

Money no object  - One painter you would have on your wall? 

Right now, I think a Joan Eardley……

How have you found working in Lockdown?

Early in the first lockdown I found it very hard to concentrate but started doing some really small works. The scale of those works seemed to release the pressure - lots of ideas in shorter bursts: jumping around different subject matters and colour combinations. I ended up doing a series of little works and hugely enjoying it.  The small works led me back to larger scale paintings and luckily it became a very positive experience.

Ultimately I feel extremely fortunate to have been able to continue working as much as ever through Lockdown.  I had 2 solo exhibitions in 2020, one in Edinburgh and one in London, and I’m certain that without those deadlines my year would have felt very different.  I must say though, along with the rest of the world, I’m ready for some new inspiration. Perhaps a Mediterranean vista or even a trip to the local Thai restaurant for an exotic looking salad!

I hope that through this very strange and difficult year that many of us will come out the other side and realise that we are more creative and resilient that we ever knew.