Psyche XL
“Psyche XL” Acrylic & oil on board, 40x30cm
Psyche XXXIX
“Psyche XXXIX” Acrylic & oil on board, 40x30cm
Psyche XXXVIII
“Psyche XXXVIII” Acrylic & oil on board, 40x30cm
Psyche XXXVII
“Psyche XXXVII” Acrylic & oil on board, 40x30cm
Psyche XXXVI
“Psyche XXXVI” Acrylic & oil on board, 40x30cm
Psyche XXXV
“Psyche XXXV” Acrylic & oil on board, 40x30cm
Psyche XXXIV
“Psyche XXXIV” Acrylic & oil on board, 40x30cm
Psyche XXXIII
“Psyche XXXIII” Acrylic & oil on canvas, 120x90cm
Psyche XXXII
“Psyche XXXII” Acrylic & oil on canvas, 120x90cm
Raymond Harrison Sketch
Raymond Harrison Sketch – Pencil, ink & digital.
Psyche XXXI
“Psyche XXXI” Acrylic & oil on board, 40x30cm
Psyche XXX
“Psyche XXX” Acrylic & oil on board, 40x30cm
Untitled Sketch
Untitled Sketch – Pencil, ink, digital.
Anthony Burton OBE (Fragment LXVI)
Anthony Burton OBE (Fragment LXVI) – Acrylic and oil on board – 100x75cm
Anthropic XV
Anthropic XV – Ink on Plexiglass – 120x90cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Anthropic XIV
Anthropic XIV – Ink on Plexiglass – 120x90cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Anthropic XIII
Anthropic XIII – Acrylic & Oil on Board – 100x75cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Anthropic XII
Anthropic XII – Acrylic & Oil on Board – 100x75cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Anthropic XI
Anthropic XI – Acrylic & Oil on Board – 40x30cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Anthropic VIII
Anthropic VIII – Ink on Plexiglass – 56x42cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Anthropic I
Anthropic I – Acrylic & Oil on Board – 100x75cm
Anthropic
adjective
(in philosophy and cosmology) involving or concerning the existence of human life, especially as a constraint on the theories of the universe.
Fragment LXII
Fragment LXII, Bronze on Reclaimed Oak, 67cm High, Edition 1 of 3
Psyche XXVIII
“Psyche XXVIII” Acrylic on plexiglass, 30×22.5cm
Psyche XXVII
“Psyche XXVII” Acrylic on plexiglass, 30×22.5cm
Psyche XXVI
“Psyche XXVI” Oil on canvas, 120x90cm
Fragment LXIII
Fragment LXIII, Bronze on Reclaimed Oak, 102cm High, Edition 1 of 3
EXHIBITION CATALOGUE – Psyche – A Portrait of the Mind
Psyche XXIII
“Psyche XXIII” Oil on canvas, 150x100cm
Psyche XXI
“Psyche XXI” Oil on canvas, 120x90cm
Psyche XX
“Psyche XX” Oil & charcoal on canvas, 120x90cm
Psyche XIX
“Psyche XIX” Acrylic, Charcoal & oil on board, 40x30cm
Psyche XVIII
“Psyche XVIII” Acrylic, Charcoal & oil on board, 40x30cm
Psyche XVII
“Psyche XVII” Acrylic, Charcoal & oil on board, 40x30cm
Psyche XVI
“Psyche XVI” Acrylic & oil on board, 40x30cm
Fragment LXV
Fragment LXV, woodcut & monoprint, 40x30cm
Professor Jo Martin (Fragment LXIV)
Professor Jo Martin CBE, President of the Royal College of Pathologists (Fragment LXIV), oil on canvas, 100x75cm – commissioned portrait.
Fragment LXI
“Fragment LXI” – Ink and Acrylic on Perspex, 160x120cm.
Fragment LX
“Fragment LX” – Oil on Canvas, 100x75cm.
Psyche XV
“Psyche XV” Drypoint & Carborundum, 40x30cm.
Psyche XIV
“Psyche XIV” Woodcut, 40x30cm.
Psyche XIII
“Psyche XIII” Drypoint, 40x30cm.
“Psyche XII”
“Psyche XII” – Plaster on steel base, 28cm high.
“Psyche XI”
“Psyche XI” – Plaster on steel base, 30cm high.
“Psyche X”
“Psyche X” – Plaster on steel base, 30cm high.
Psyche VII
“Psyche VII” Drypoint, 40x30cm.
Psyche VI
“Psyche VI” Monoprint, 40x30cm
Psyche V
“Psyche V” Woodcut, 40x30cm.
Psyche II
“Psyche II (Starling)” – Drypoint print on plaster, 28x21cm.
Fragment LVIII
“Fragment LVIII” – Plaster, steel rod, 25 cm high.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LVII
“Fragment LVII” – Jesmonite, 27 cm long, unique edition.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LVI
“Fragment LVI” – Bronze, 24cm high, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Study for a Fragment VIII
“Study for a Fragment VIII” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Study for a Fragment VII
“Study for a Fragment VII” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Study for a Fragment VI
“Study for a Fragment VI” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Study for a Fragment V
“Study for a Fragment V” – Ink on scratched plastic, 40x30cm, unique.
These studies are an opportunity for me to experiment with printmaking and drawing techniques. Drawing is my first passion and is essential for me to understand the line, shape and volume of my subject.
Fragment LIII
“Fragment LIII” – Bronze, 16cm high, edition of 3.
Fragment LIII, bronze 16cm high and new 32cm enlargement available now.
Fragment LV
“Fragment LV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LIV
“Fragment LIV” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment LII
“Fragment LII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Study for a Fragment IV
“Study for a Fragment IV” – Etching, 40x30cm, Edition of 10.
These studies are an opportunity for me to experiment with the printmaking techniques of etching. The prints bridge the gap between my initial idea and starting a painting. Drawing allows me to answer compositional questions and is essential for me to understand the line, shape and volume of my subject.
Fragment L
“Fragment L” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLIX
“Fragment XLIX” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLVIII
“Fragment XLVIII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLVII
“Fragment XLVII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLVI
“Fragment XLVI” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast XXXI
“Cast XXXI’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XXIX
“Cast XXIX’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Cast XXIII
“Cast XXIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XLIV
“Fragment XLIV” – Bronze & Limestone, 20cm long, edition of 3.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XLII
“Fragment XLII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast XIII
“Cast XIII’ – Ink monotype on glass + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XL
“Fragment XL” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXIX
“Fragment XXXIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXVIII
“Fragment XXXVIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXIV
“Fragment XXXIV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXIII
“Fragment XXXIII” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXXII
“Fragment XXXII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Cast I
“Cast I’ – Ink monotype on plastic + shadow on card, 30×22.5cm
Further experiments using traditional techniques in unconventional ways have resulted in the Cast series.
The single, continuous, rapidly drawn line appears suspended, and the shadow it casts encourages the viewer to look beyond the surface, behind the mask.
Fragment XXXI
“Fragment XXXI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXX
“Fragment XXX” – Oil on canvas, 100x75cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXIX
“Fragment XXIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXVIII
“Fragment XXVIII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXVII
“Fragment XXVII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXVI
“Fragment XXVI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXIV
“Fragment XXIV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XXI
“Fragment XXI” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XIX
“Fragment XIX” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XVII
“Fragment XVII” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XV
“Fragment XV” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment XIV
“Fragment XIV” – Acrylic on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment V
“Fragment V” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment II
“Fragment II” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.
Fragment I
“Fragment I” – Oil on board, 40x30cm.
The Fragments series attempts, by the deconstruction of the portrait, to explore what lies beyond the physical and the individual, to discover what is essentially and universally human.
If we strip-away all that is unnecessary for our existence we would be left with nothing but the earth we stand on, and so the landscape is an integral part of this work. From the textures of rock and bark and the restricted palette of earth colours, to the vigorous technique of scraping the painted and sculpted surface with sandpaper and knives calling to mind the processes of erosion and corrosion, these figures are inseparable from their environment.
I’m not a traditional portrait artist, I’m not trying to describe a certain person, rather I’m interested in humanity in general, therefore very few of my paintings and sculptures include eyes, which would immediately tie the work to an individual.
The portrait is further abstracted, sometimes with a sense of fluidity, examining the effect of motion on the face, other times in a geometric fashion, suggestive of the broken reclics of ancient civilisations. However, by ensuring that the subject has a sense of volume, weight and substance, I hope that what is revealed by deconstructing the portrait might be just as tangible.
The viewer is encouraged to look beyond the surface features, to continue the process of stripping-away the unnecessary and consider ideas of mental health, identity, spirituality, the soul and our connection with the earth. The fragmentation of the portrait is sometimes uncomfortable because it deals with the fragility of existence.