Platform Arts Studio: Lee House (2014)

To say painting is tricky is too obvious to some and I can well understand why many others regard this particular audacity as an ill-advised activity. I take note that finishing a painting is way different from the painting being finished with me. This conundrum plays mischievously with the notion of desire and may yet have the upper hand. For instance: the three paintings shown above are works in progress, photographs made to fix the moment when the appearance of ‘being complete’ is compelling. It matters very little to me that these three paintings no longer exist as physical objects. It matters more for me to know that, four weeks later, when I looked again at this work they came across as vacuous. Something of significance was all too obviously missing. Next time…

Two Drawings: after Weesp (2011)

I think of this work as drawing and partly because of this I am entirely settled into the idea that they are concise, complete and convincing. Both drawings are made on gesso primed paper support and are both 30 x 40 inches in size. The particularity of  this scale and ratio is that ‘it’ (the drawing) presents itself to the viewer in a less deferential and less subordinate identity. Quite right too…

Guest Residency in Weesp (2011)


Being an invited guest at an artist studio a short distance from Amsterdam is much appreciated. Many thanks to Wim Vonk and Marja van Puten for their generous offer to share studio space. A chance to extract myself from a ritualised habit of domestic life in Stockton on Tees, near the mouth of the River Tees in North East of England. Making the transition from one delta to another is an intrigue for me.

One painting I made during this all too short ‘ten day’ residency titled: ‘Satie’ is a deeply embedded memory, another work where the subject remains in play until finally resolved. Not yet, but one day soon.

‘Casualty’, Installation Performance at Circulation Recording Studios, Darlington (2002)

My concerns in this work sought to locate the status of painted objects as the central subject and focus. Electing to use installation as an appropriate mode of representation offered an opportunity for me to explore the potential for adopting more performance based approaches and acquire expertise in the use of time based media. Selecting the term ‘Casualty’ as a working title seemed to encapsulate the side-lined status of painting in the process of repositioning itself and/or repositioned by digital technologies.

Many thanks to ‘Circulation Recording Studios’ in Darlington for their willingness to gift their music and sound studio for this performance event, David Allinson for negotiating the deal, Alec at ‘Studio Projective (NL)’ for making the digital drawings as 35 mm slides and Jeannette Martin for the colour of her classical singing voice. This event was immense fun and the dense fog that descended on this cold December night made sure that the audience really was invested.