A New Years to-do list


A few notes for a productive, creative and fulfilling 2018. Some denote activities to be built into an everyday routine, others refer to more pressing tasks for the coming weeks. I will add to this list as and when more notes and observations come to mind… Continue reading


Research musings: a direction presents itself…


Having created a number of visual pieces in recent months, many of which have been in response to, or using Jackson Pollocks later ‘pour’ paintings as a theme (see previous blog posts) I have been unsure as to the positioning of these pieces within a wider narrative of my current research concerns. Indeed, up to a point I have been unconcerned as to their apparent lack of conceptual context as primarily, they have acted as an outlet through which I have been able to tentatively feel my way back into some sort of a studio practice. Continue reading

A Return to Observation: Diebenkorn, Kline and Barnes


The following pieces are from a body of work I began to explore and develop whilst on my most recent trip to China. The origins of the work stem from a number of lessons I taught, directed at exploring tone. Continue reading

Studio Diary: 12/10


When embarking on painting again after a prolonged absence often the hardest thing is simply picking up a paint brush, and having just moved into my first dedicated studio for a number of years the feeling of intimidation was only compounded. My mind was taken immediately to Phillip Guston’s profoundly accurate quote, ‘studio ghosts’, and the daunting nature of being present in the studio; Continue reading

Studio Diary: 04/04



I’m not really sure of were these pieces fit into a wider narrative – of either my practice (past and present), or to the practical element and requirement of the PhD. I am, however, not overly concerned by that, or even think that matters. Sometimes just being prepared to place oneself in the environment of the studio, or to place oneself in the line of fire is enough. Through simply painting, ideas have a tendency to catch up  – trust in your abilities, intuition and experience.

The importance is in working intuitively, responding to things as they occur and arise. Follow your instincts and experience. Observation, reflection and response.


Working by directly applying ink through a pipette. Continuing through the limited palette I previously extended: Ochre and Black.

On Hahnemuhle paper, I first applied clear water from a pipette in a fluid motion – replicating the strings and threads, reminiscent of Pollock’s late technique. Directly atop the pools and threads of water beginning to saturate the paper, I applied an ochre of a fluid consistency through the same method. The ochre beginning to bleed out into pools of varying tone and density. When dry I then worked over the pieces with black ink, creating greater depth and layers to the piece.


On later study and reflection of the pieces:
The marks applied via the pipette method seem to be more successful when applied in a  more fluid, organic, circular motion. The more angular marks, generated by an increased rigidity and broken application are less successful.

The circular, organic marks allow the eye to move around the piece in a spiral motion –  moving to the outer edges back to the inner recesses and depths of the piece. The angular, straighter marks act as broken sight lines, stunting the movement of the eye over the picture plane.

Due to the restraints or limitations of the process and technique – the difficulty in achieving long smooth continuous lines, and the seemingly unavoidable drips and blobs generated by the pipette – the angular, sharper approach to marks create an un-resolvable tension with the more organic drips and blobs. A tension not present through the more fluid application.