Original paintings and drawings by London based artist
Architecture, landscapes and abstracts.
Exhibited at the Royal Academy Summer Exhibition 2015. SOLD.
Playing with perspective to accentuate the sublime architecture of the water tower at Horsley Cross, near Harwich.
2 x 90 x 90cm oil on canvas, 2014.
£1000
Standing under the water tower in Horsley Cross, near Harwich.
65 x 65 cm, oil on plywood, April 2014
Price £1000
A prominent water tower in Gascony, South West France.
90 x 90 cm, acrylic on canvas, February 2014
Price £750
Rendition of a graffiti image under the railway viaduct of Stroud, Glos.
90 x 90 cm, oil on canvas, January 2014
Price £750
150 x 50cm, acrylic on canvas, July 2015. SOLD.
64 x 42cm, oil on plywood, July 2014
SOLD
34 x 24cm, oil on plywood
SOLD
34 x 24cm, oil on plywood, July 2014
SOLD
34 x 24cm, oil on plywood, July 2014
SOLD
34 x 24cm, oil on plywood, July 2014
SOLD
34 x 24cm, oil on plywood, July 2014
SOLD
34 x 24cm, oil on plywood
SOLD
100 x 100 cm, oil on canvas, October 2012
NOT FOR SALE
100 x 100 cm, oil on canvas, April 2013
NOT FOR SALE
100 x 100 cm, oil on canvas, December 2012
SOLD
100 x 100 cm, oil on canvas, July 2013
NOT FOR SALE
90 x 60 cm, acrylic on canvas, 2012
NOT FOR SALE
90 x 60 cm, acrylic on canvas, 2012
SOLD
90 x 90 cm, oil on canvas, 2012
Price £750
90 x 90 cm, oil on canvas, 2012
Price £750
90 x 90 cm, oil on canvas, 2012
£750
60cm diameter acrylic on circular canvas, July 2014
NOT FOR SALE
Object Relations 4. Two initial background images (top left and top centre) formed the basis for subsequent campaigns to resolve a flat and fragmented composition. The breakthrough occurred when I observed a series of overlapping fish-like shapes in the structure, which then took their own form and color in the final revision, bottom right.
Stroud Canal Graffiti - photo of original (top left) and work in progress. I worked from a photograph on the 6cm screen of my then Blackberry phone. The process was refreshingly linear compared to resolving an abstract composition, and the final layer of lighting and texture was added once the brick and graffiti image was marked out.
Object Relations 5 montage of revisions. The initial image (top left) was laid down quickly and was overpainted on numerous occasions over a two month period, in what I began to feel was an unsuccessful campaign to unify the centre of the painting with the aspects around the perimeter. As the texture of the surface grew unwieldly, the need for a full sand-down and re-paint became obvious. By connecting with broad brush lines, the previously fragmented color blocks, I was able to pull back a more cohesive version of the image which resolved with a fine translucent glaze of very pure tones on the painting's outermost surface (bottom right).
Revisions of Object Relations 3. The final composition in the upper left. The last stage was almost a full re-work except that the outlines of circles were visible through the overpainted layer of white applied after the image became over saturated with blue (upper right).
Object Relations 2, montage (final revision bottom right). The centre of the image was only resolved when the dominant right angle in the centre of the circle was replaced altogether with a shape appearing to contain a smaller, implied black triangle emanating from the centre point of the canvas. I intended the shape to resemble the prominent 'deck' of an observation tower I had dreamt about, an image which subsequently influenced the studies of water towers.
