The paint builds up in many layers over time. I start with a turpsy underpainting, gradually building to impasto, finishing with scumbles and glazes. Likewise, my watercolours consist of multiple layers exploiting the fluidity of the medium.

Close inspection of the work of the Old Masters reveals great freedom in the application of paint; it’s the lifeblood that gives expression to the subject. If only looking at reproductions it is easy to miss the raw physicality that they instinctively knew was vital to capturing the broader and deeper truths of reality.

It’s my belief that freely applied paint exerts a universal force capable of spontaneously turning inanimate matter into infinite forms. Drawing on fractal structures found in the natural world, both micro and macro, these paintings are my attempts to manifest this connection.