'My work is about place. I am curious about places I have never been and nostalgic about those I know well.
The movement and the sensations of a place are what I wish to convey and so my pieces are emotional responses to subject matter rather than literal interpretations.
A personal connection to a place is what informs the energy of my line, the elimination or emphasis of detail and the subjective colour that I use.
While my starting point is always observation, my process will quickly yield to whimsy and invention and it is for this reason that I see much of my work as being 'dreamscapes'. Seasons or time of day become blurred and open to interpretation. Places begin to look familiar, yet completely unfamiliar all at once.
Rarely content to use only one medium, I have always enjoyed the inventive process of mixing materials. Just as a linguist may blend words from different languages to best expressive himself, a mixed media artist hopes to make a stronger and richer statement by mixing materials and techniques. It is important to me to have a strong technical understanding but it is equally important to me to challenge convention.
Colour and surface qualities that interact with light add life to a 2D surface. However, it is ultimately drawing that is my anchor for expression and communication. For me, conviction of line and a wide repertoire of mark-making add more emotional content to my pieces than any other visual element.
As a very young art student, a daily journey through the architecturally rich and decorative streets of Glasgow's city centre etched my mind with elaborate Victorian stained glass and tiling, curly wrought iron details and the weathered textures and varied palette found in stone and slate.
Extensive travel has deepened my fascination with the urban environment, the language of architecture and the fading glamour of European cities in particular. Cities are where I feel edified, alive and inspired. They feed me visually.
Moving to Victoria BC in 2012 has encouraged me to look at architecture in relation to the surrounding natural environment. Many of my pieces are now more about the context than about the buildings themselves.
Each journey and each painting informs the next. I see painting as an endless debate and development of ideas. Therefore, even although I work in themed collections, I will often go full circle and revisit subject matter. When I do this though, I am bringing my changed self to an older context to produce something new.
Above all, I would like to present places in an an optimistic light, convey hope and share my experience of finding beauty in the world.'