These paintings are just about applying paint in such a way as to satisfy the artist's visual aesthetics. Surveying only the surface, where nothing is real or representational can make viewing it prickly. There is a visual ambiguity here in the uncertainty of what is... smudges of colour, the remembrance of an idea, a thumbprint of evidence lost under the weight of what comes after. One can look at the brushstrokes, the rhythmic pauses applied in this way and that, lack of colour, and the excess of white.  It appears impossible to obliterate the colour, as it slips through, suggestively making its presence known. 

Interwoven into the fabric, the fibres of the warp and the weft are stretched taunt and stapled to a wooden framework, where they meet with the concept of the in-between; of coming into and out of existence and our awareness of it. A painting with no object becomes a “Textural Interface” of layers building up in search of a resolution to an unknown question. 

My paintings are, as the painter Joseph Marioni described, “Reduced paintings... best shown with natural light that alters as the light passes across the surface.” Gerhard Richter believed, “Any paintings are about the receivership of light and the relationship with the viewer.” These minimalist paintings present an opportunity, for the viewer, to pause and reflect, with a simple or complex gaze directed at the surface.