Colour is the starting point for every screen print. Creating colours that resonate together is a kind of alchemy. I experiment with cut shapes until I find relationships that have the energy I'm looking for. In the tradition of modernism, I believe that simpler is stronger.
The colour samples and shapes are brought to the workshop of a master printmaker and we continue to work with these elements until the components take on a life of their own. Crucial to this is a sense of space and spirit.
I believe my visual apprenticeship was the four years I spent as Information Officer for architects, Nicholas Grimshaw and Partners in London. In commissioning photography for the practice I had to learn to look at structure. At the same time I was looking at works in the National Gallery and the Tate, making my own study of art history.
My art career began when I moved to Brighton in 1998 and consolidated during the twelve years I spent in the far west of Cornwall. I soaked up the history of British abstract art and couldn't fail to be affected by the power and beauty of the landscape. Then I needed to leave the influence of St. Ives and the city life of Brighton beckoned.
For another family house in the same area (an older New England residence) I made a similarly abstract collage. From these two works, made for specific houses, a series of simple collage works has evolved. Interestingly - all have been for private rather than public spaces.
In contrast to my screenprints, collage takes me into the world of texture. Using torn edges of paper brings in a random element that is also new.
It was only after several pieces were made that I noticed the shapes were all connected to at least one other form. Different yet connected. This feels like an appropriate theme for these times.