Abstraction is natural and enjoyed by our playful brain. My paintings explore that playfulness, by creating images that are designed to engage the viewer’s attention.
Art is a conversation between minds, full of elusive, perhaps transient meaning, but always aware that the success or not of art is in the extent to which it engages the viewer with a reaction of some sort.
I have worked in many media, all abstract, including art photography, large-scale tapestry, sumi-e and painting. I draw on artists and thinkers influential in charting direction in abstract art and our understanding of cognition (including neuro-aesthetics) and how we see and understand the world.
In the spirit of Einstein’s maxim that explanations should be as simple as possible and not simpler, I work to create art that is simple and no simpler.
“Repurposing History 1” (shown) illustrates the exploration of mediaeval art forms through an abstract lens; this interests me very much, partly for the colours/pigments available at the time, and partly the origins of abstraction. It all did not begin recently, but the cognitivity of creation has been a question for human minds since the cave paintings.
I am a member of S2A, hosted in Paris, and who explore geometric ideas in their work. S2A features some very interesting work for an international community.
I am listed on the Abstract Artist Directory, which is a comprehensive guide to Abstract art online, and which enables you to locate artists, galleries, blogs and online communities.
I have been an elected member of Ashford Visual Artists, based in Ashford, Kent. This is a lively professional artistic community with excellent artists working in a variety of media.
From time to time, I publish in the art press; for a while, I was writing short comment items for Art of England magazine, which has now ceased publication.
In my other work, I am a specialist in decision making and reasoning, with a focus on healthcare, biotechnology and public policy and in the context of the patient’s experience of care.