2018 shows a shift as I embrace my love of colour and pattern more through the landscape paintings. The spots and looser mark making feel like a move back towards abstraction after a number of years spent concentrating on drawing and compositions of real places. These paintings are still rooted in their locations but I can feel myself pushing the boundaries of what I see and feel through the work.
All my paintings start their life as compositional sketches which I collect on walks through the marshes and lanes along the Waveney Valley. I sketch with pencil and permanent markers to get quick ideas down and then return to the studio to translate these ideas onto larger panels layered with heavy watercolour paper using permanent black ink applied with either a brush or a stick. The paintings are first painted with a bright wash of ink or acrylic and then time is spent layering transparent, then opaque layers of paint. If I add collage to a painting it tends to be the final part of the process. All of the paintings are of particular places and I often include OS map grid references on the back of each work. I am particularly fascinated with areas of the landscape that have changed very little over the centuries and love the idea that I am following in the footsteps of artists who have walked and become obsessed with the same landscape.