I'm interested in the concept of landscape as a state of mind, as much as a physical entity.
In the way ideas of perception and our subjective and sensory reponses shape the world we see.
Topophilia is the love of place, I'm drawn to the idea we might be neurologically imprinted by the forms and archetypes of the landscapes we grow up in or connect to, how they might become an emotional repository or serve as an expression of that.
Recent paintings are concerned with visual memory and with a more visceral sense of this 'perceptual landscape' – colourful, spontaneous, subjective and intuitive. I work directly onto small rough wood panels. The wood influences the paint - it's relational grounded in 'objectness' and the history/story of the wood itself.
I like the intimacy of scale. the old tradition of panel painting, the idea and colour palette of the 14th century devotional portable image.
"The human mind is not some otherworldly essence that comes to house itself inside our physiology. Rather it is instilled and provoked by the sensorial field itself, induced by the tensions and participations between the human body and the animate earth. The invisible shapes of smells, rhythms of cricketsong, and the movement of shadows all, in a sense, provide the subtle body of our thoughts. Our own reflections, we might say, are a part of the play of light and its reflections.
The Spell of the Sensuous - David Abram
Earlier insulation tape works were concerned with perception of light, pattern and disorder - with the spaces between things as much as the things themselves. Installations explored themes of remembered, imagined and virtual landscape.