I try not to make the paintings too much about the real world. Instead I like to think they possess a ethereal quality which is why I always include a landscape which intentionally makes placing the context of the sitter ambiguous. Representation and abstraction go hand in hand. In my opinion there is nothing more abstract than a Rembrandt. A cacophony of paint texture, translucent, opaque, syrupy and then you step back and it all makes perfect sense, this is what excites me the most as a painter.
My methodology stems from two main areas of interest. The first being hidden geometry, where the compositions are laid out to a strict formula. This underlying structure gives my work a common thread, linking individual pieces like painterly DNA. My second methodology is the technology of the paint. It is the emotive qualities of paint and how it can be manipulated to express a myriad of things which intrigues me. Modern artists have been blessed with recent scientific discoveries into the composition of the paints used by the 'Old Masters'. It is this area of my work which dominates my every waking thought. I used to be obsessed about how paint was applied such as impressionism, expressionism but it dawned on me that to create something new I had to rediscover oil paint itself. To go back and explore what made the old masters possess such magic. For so long I had been working with what I liken to a piano with only one key, and note by note I am adding more emotional texture. My studies are documents of this exploration.