Approach to painting. A symbolist flavour with the emphasis on design and drawing is not seen as a reactionary aim for a painter but as an antidote too much of modernism. Such an approach might be seen as akin to poetry's place in the universe of literature. As such it might attract the more contemplative viewer who is not looking for a quick fix and enjoys 'peeling' away the many layers of association and meaning buried in the painting.

Some paintings are works in progress and those glazed have the virtue of stopping one working on them further as well as protecting the work from atmospheric pollution.

Working method painting. The paintings are oil pigment - based on canvas or canvas board. The palette is a limited one, the working procedure being to cover the surface with a dark glaze and then worked into to establish the bare bones of the design. Naples yellow, yellow ochre, Indian red, and black are introduced onto the canvas and with white the result is reminiscent of the pearly character of paint in a Rubens sketch for example.

Origins. The work is started freely with no predetermined idea in mind; the composition evolving almost by autosuggestion and trying to avoid 'naming' which has the effect of anchoring the meaning at too early a stage. The aim is for a harmonious tonality that enables the work to be extrapolated rather than be decided at the outset.

The problems arise of course of when to stop!

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