work mainly with oil paint on a high gloss paper, occasionally
I might add oil pastel to delineate forms. The paper I chose
is very important to me and very particular in it's texture
allowing great freedom of movement across its smooth surface.
The oil paints are thinned downed with turpentine; creating
a further fluidity of movement and translucency. The combination
of paper and oilpaint used in such a manner creates a distinctive
quality of luminosity. This technique has been developed
by me over the years and I think it is safe to say that
it is an original way of working.
more I seldom use brushes prefering the tactile quality
of paint on hands; or the use of rags which have hardened
over time. These 'rags' are my brushes, they allow me to
create very distinctive marks! I draw with my fingernails
scratching through the paint.
drying time of the paint is also very pertinent! By working
the paint at different stages of the drying process, utilising
the different 'rags' covered and hardened with oil paint,
new textures can be attained. I have built up a vocabulary
of mark making which is interdependant on all these factors.
me, working with oilpaint is a 'hands on experience' and
an amazing sensual one.
considerations come into play whilst 'painting' over and
above the obvious practicalities. The consideration of colour
relationship, composition, invocation of mood, quality of
line, reflection, imagination and place are equally important.