My studies of philosophy were enough to show me that what I sought was not analytic explanation of life, but synthetic expression of the condition of being human; an expression of that “Condition of complete simplicity (Costing not less that everything)” that T.S. Eliot talks about. I realized that this is what I found in great art.
Studies of art history have left me fascinated by the reoccurring oscillation between periods of so-called ‘classicism’ and ‘romanticism’ and the tension between them; the expression of feeling versus that of reason and the particular approaches to life and culture that they seem to imply. In the same way my periods in both university and art college made me interested in the tension and misunderstanding often existing between so-called ’academics’ and ‘artists’. The motivation of much of my work has been the attempted reconciliation of such polarities; to find a balance between the spontaneous and the considered.
With this aim I have tried to combine large and free drawing with techniques of composition and structure borrowed from the Renaissance and work in parallel on a large canvass and a computer version of the same image. My photographic work explores the changing nature of reality and the limited sphere of human vision and focus: what is reality and when is now? I also work on merging photography with drawing, blending them so it is not possible to distinguish which is which (see my project “Nuances”).
During my first degree in Communication Design (First Class Honours with a Special Commendation), I followed a specialist area in Photography and many of the images presented on the second page of the ‘Digital’ Folio are, in fact, images created before digital technology with traditional film.
Much of my work is based on the human figure and the expression it gives to human emotion and the human spirit as the organ of all the senses that connect us to the world. It is also the central point of Renaissance art to which I am always looking. As subject matter I seek myths and and images that seem to me archetypal. This seeking after references is part of the general, post-modern desire to create a new and homogeneous style out of the melting pot of multifarious cultural references that is open to us in the late twentieth century; all of which are connected to us, but none of which arise out of our daily, shared personal experience and education.
“Hard work, that’s all there is” said Degas. I believe it; being a painter is about refining one’s craft and keeping one’s experience alive in the hope of that one moment in which the work transcends its means and carries forward an eternal truth, restated in the language of one’s own time- a moment of complete simplicity, costing not less than everything.