Form, colour and narrative are the elements that drive my art practice—a shape, a hue, a shadow, a story—all assume importance to me: the 'just so' fold of a mountain range; the luminous clouds of an afternoon sky; the hues lying deep within a shadow, or atop a highlight; the pregnant pause within a moment; the 'mise en scene' in a fleeting vignette. I am driven to record these things as imprints of my camera mind.

I have been practicing for over 40 years, but apart from six restless months at art college at the hands of mostly uninspiring lecturers (bar one—Allan—who taught me life drawing), I have had no formal tuition. For me, the discovery of materials, mediums, processes and inspirational artists has been my professional life journey.

My work spans a range of subject matter that becomes the support for the interaction of form, colour and narrative. Landscapes, Still Life, Urban and Interior scenes and Figurative works all function to carry my own desire to both capture the immediate world around me and, in the case of figurative works, to capture a narrative that encourages the viewer to 'fill in the blanks' with potential meaning that resonates. I have a degree in History and Creative Writing, and it is the latter that I bring to the canvas in the form of storytelling. I have created several graphic narratives that extend the desire to narrate, and I enjoy playing with polysemy (the space between word and image). In the case of Artworks, polysemy occurs between image and title.

I seek to bring appreciation for the natural world, to chronicle the region in which I live, and the places to which I may travel, and to entertain with questions and scenarios played out on the two dimensional surface. I seek also to feel the paint flow across the surface of a canvas; to sense the gentle breath out as the canvas yields to the brush; the contemplation of form and colour, of value and texture, and how to capture them with a slow building and manipulation of the medium. 

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