One of my chief concerns is attempting to make idea and technique inseparable. Painting in this sense tends towards a complete interlocking of image and paint, so that the image becomes the paint and vice versa.
The brushstrokes create the form and not merely fill it in, every movement of the brush altering the shape and implications of the image. That is why real painting is a continuous struggle. It is mysterious because the very substance of the paint, when used in this way can make a direct assault upon the senses.
In painting the image must be twisted / distorted / deformed, to bring the fact of it more directly to the fore. As Van Gogh said; “I want my paintings to be inaccurate and anomalous in such a way that they become lies if you like, but lies that are more truthful than the literal truth”. That I believe is the difficulty of painting today, particularly figurative painting.
I attempt to recreate a particular sensation with renewed poignancy in the desire to live through it again with a different kind of intensity. There is also at the same time a deep need to complicate the game for myself and give the tradition a new twist through distortion and what may be loosely called chance. One needs specific images as a grounding and through the manipulation of paint to push ones sensations of the image into a heightened reality and not simply something which is abstract and free-falling. It is only in trying to push reality that one can hope to break the mould and perhaps do something new.