These nothing-is-ever-ruined-keep-going-with-it drawings have emboldened my approach to my sometimes and otherwise ‘stuck’ paintings. Emboldened to uncompromisingly obliterate any unsightly or not-working areas with colourful washes or opaque layers of white. Colourful washes are interestingly unpredictable in the way they interact with the layers below. Filtering out some hues and not others, the odd shape from below can unintentionally and joyfully interrupt the newly worked composition above. Or more drastically, wiping out areas with a thicker and more opaque layer of white. These almost re-primed areas are prominent in their reflectiveness and seldom conceal; subsequent colours are chromatically here-I-am vivid. Texturally, whether they’re rough and chalky or smooth and glossy, these whited out areas clash with the otherwise thin washes or any parts of the canvas that have remained reasonably raw.

These interactions, both intentional and unintentional, have driven this whole body of work, in some capacity, towards texture. Visibly layered surfaces, thin translucent washes covered with rough and opaque, or heavily saturated, brushwork. In the way that the dry brushwork catches the weave of the canvas, like worn tapestries the paintings have a patchy and threadbare quality to them. While simultaneous contrasts create sense of depth; glowing opaque pastels pinging against dull atmospheric translucency.

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