How has your background in design and your experience as a creative director shaped you as an artist today?
Painting, like design, is visual communication – an idea or story expressed in imagery. I was always interested in creating images, whether it was via design, painting, photography, print making or drawing. I drew a lot as a child and always loved painting, but as I grew up I saw a more reliable financial future in graphic design. I had really good teachers around me who also pushed design as a means for employment. Becoming a creative designer and owning a design business with my wife Helen for over 30 years did build a financial foundation for me. Now I do what I really loved as a child: paint.
Tell us more about your artwork process from start to finish; what’s the most challenging part of painting?
I never have a specific starting point. For me, a basic composition plan and spontaneity are the key things. The process starts with the clouds composition. Are they dark or light? Are they grey, blue or warm tones? Once I’ve laid them down, I sit and study how the light from within these clouds will affect a landscape. I just let it happen. Blocking in with rough colour helps me see the land appearing before me.
I always home in on weather events that are fleeting and hard to capture in the real world. I have the freedom with paint to be the author of unpredictable, dramatic and sometimes breathtaking weather events. Paint can be moved, layered or brushed to build up contrasting tones that tell a story of light and shade, landscape artistry and mystique. The real challenge is to visually convince and excite the viewer of this fleeting moment.
How long does it take to complete your paintings, and do you work on multiple pieces at a time?
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