I start with size and shape. This vertical rectangle has pre-occupied me for a while, as has working on pre-stretched canvas, now. I make some large-scale decisions about line and area right from the off, which will be highly disruptive forces. I work the painting a great deal: removing, re-stating or adjusting surfaces or saturations and finding new possibilities over time —continually painting out and in and often moving things until I find something that opens up the space. I am acutely aware of the dimensions and finding the line or colour expanse in proportion to that. The paintings are made spontaneously without being contingent – this is important to me; everything is done to make the colour work hard. I am continually looking at the transitions and the work unfolds and reveals itself very slowly. Sometimes the finest of adjustments can have the most significant of results.
The drawings are made on paper or canvas, ranging from 2ft to 9 ½ft in height, using a shellac-based Indian ink. The canvas works have a layer of buff acrylic applied first, to accept the ink in an even way. I made a willful decision to avoid atmospheric washes and have developed a range of character marks to build space and contrast. I see them as very democratic – every single decision is available to the eye. I can rework them with sort of fresco technique — painting out and laying in a fresh spread of matte paint before re-applying the ink.