As a self-taught painter I have spent several years exploring mediums, styles and various processes, including producing a series of High Realist still lifes and landscape paintings. This wide variety of experimentation has led me to work exclusively in Hard Edge, using mostly acrylic paint on wood panel, which is able to stand up to the multiple layers of masking involved in my painting process. I have found this to be the fullest and most profound expression of my fascination with the various ways in which the viewer visualizes the subject.
I’m interested in pixilation and how the viewer understands the pixel patterns and the interpolation that blends the colour of one pixel into the next to form the painting’s composition. There are historical correlations to the distillation and separation of colour components, from pointillism to cubism, but for me the idea has more to do with the elasticity of reality, how abstraction can become a form of realism depending on the distance of the viewer to the object. Proximity, then, becomes the arbiter. This becomes both a highly emotional meditation on distortion and distance, and a highly methodical technique of construction.
The process of painting these images is complex and time-consuming. The subject matter, taken from a photo, is reduced and simplified, details stripped away and concentrated into pure components of colour, then reconstructed using my own pixilation patterns and then the multi-layer masking process of painting. It becomes a translation in triplicate: an image is downloaded into a computer, digitally altered, then reimagined by the work of paint and brush. Like a game of telephone, the original image repeatedly morphs into something new, either decayed or heightened, but always retaining the absolute essence of its being.