Artist’s Statement

An over-riding aim has been to fight against convention and stimulate the viewer to consider and be visually excited not only by the true colours, shapes, forms and textures of the subject but the true colours, shapes, forms and textures that excite and stimulate me

The basis of my work has always been working in front of the motif or subject, whether it’s a figurative study or plein air subjects. This is also particularly relevant to the representation of colour as photographs are only an instant view and don’t record the true hues accurately. Although based on a limited palette, my artwork is not about specific techniques but observing and representing by responding to the image in front of me and has evolved over the last 50 years.

What has been an overriding fascination is the juxtaposition of the geometric shapes and natural forms. In a life study, it might only be the contrast of the shapes of the figure to the frame. With Cityscapes and Landscapes it could be the comparison of the built structure and the adjacent flora: With maritime paintings it can be the shape of the vessel or a derelict pier and the ever-changing sea.

My work reflects the exploration and experimentation experienced as a student in the 60s. There are, therefore a wide range of techniques and much of the creation is working from the broad to the specific, laying down the forms of the figure, the structure of a harbour or the architecture of buildings and refining the elements with pastel, crayon, pencil or pen.

I avoid simplistic short cuts so even a line is carefully controlled by weight and colour to represent the true shape or form of a figure or vessel or even the dynamics of a standing figure.


Apart from the teenage influence of the Impressionists and the single motif, I have been inspired by an eclectic mix of artists. Contemporaries of my generation whose work has stimulated me are Pop Artists such as Richard Hamilton and Allan Jones as well as painters like Euan Uglow.

The bold forms of Henry Moore have also had a significant effect but perhaps, the greatest inspiration of all was the photographer Bill Brandt.

Interest in the built-environment is based on an upbringing in industrial Birmingham – you may surmise, correctly, that Lowrie is an hero but also, latterly Turner.

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