My work is informed by a very physical and immediate way of working. The process, as it were, is extremely important as it is the emotional, intuitive sense of the painting that interests me. I pay close attention to the materiality of the paint and surface: how the paint sits on it’s surface, thin or thick, opaque or transparent. Seemingly mundane activities are addressed until slowly a tactile kind of space, simplicity and complexity emerges that feels it has depth and relevance. There is no preconceived plan for the painting other than an interest in opposites: sharp against soft, dense against washy. I look for richness in relationships, rhythms and densities. Ultimately, I want the painting to have a directness and freshness where the gestural, physical and material are one. There is never a question of when a work is finished. Each painting feels like a completely new beginning.
 
I am hugely interested by what I see in the natural world, however, my work has always remained abstract.
 
Extensive travelling in India has influenced my profound respect for the emotional quality of color. The dense, colored shapes of the spices in the market felt very powerful and primal to me. As I came late to color I rather enjoy reveling in it. Often I work for long passages of time with one color palette that cannot possibly reveal itself altogether in one or two single paintings. 
 
Chinese landscape painting and Japanese calligraphy speak to my interest in the direct and gestural as does the quietness of Morandi in its closeness of tones and repetition of formats.