The abstract language of a painter is often derived from another genre. For me it was the landscape. As I investigated ways to interpret my subjects—familiar parks, fleeting glimpses of countryside, places visited in travel––I became more interested the process than the source of my inspiration. Moving into work that diverged from landscape and became abstract, I focused on certain formal elements of painting––shape, gesture, mark. The sensuous nature of the materials I use—oil paint, cold wax, pigment sticks—play a part in the feelings I have when creating these paintings.
I still find pleasure in drawing from nature. In the abstract work, a line or shape can pay homage to a broken tree branch or path wandering through the woods. Both bodies of work, rely on continual editing, the creating and destroying of the image. There are multiple layers of paint, often scraped back and repainted. What results is a surface with history and texture. Resolving an image is the challenge that results in artistic struggle. The evidence of that struggle, which remains on the canvas, is emotionally satisfying. I take comfort in this because for me, it confirms that the process of making art can mirror life.