My paintings interpret landscape in a very personal form – I like to describe my work as a ‘representation’ of my observations, using the term to mean a visual transcription rather than an accurate replication of the subject. I am intrigued by the act of realising these observations by means of drawn lines and marks, often using swift broad lines of charcoal or pastel within the bounds of a small sketch. Abstract qualities evolve as the painting process progresses, and there will be certain ambiguities which emerge presenting many options for further paintings, but as each is developed the subject always has a distinct connection to the view from which it derives.

I use acrylic and oil paint on primed boards as I find the solidity of the board, and the speed of drying allows me to draw and lay down a surface with energy and expression that compliments the brushwork that comes later.

Artists that have influenced my work are those that established the early Cornish school, such as Peter Lanyon and Ben Nicholson, and then later artists such as Paul Nash, Ivon Hitchens and Victor Passmore. All have that assurance of line and form that I admire.