My working practice is firstly to constantly collect my own digital images as I roam the Cornish landscape. Cornwall has a rich and varied history of farming and of mining for tin and copper ores and is bathed in an over-arching quality of maritime light that resonates with my sense of design and enjoyment of colour.
Secondly comes a process of distilling these qualities to reach what I see as the jumping-off point for a painting or drawing. The various design and paint applications on my PC have become useful tools in this process.
Thirdly come the decisions about scale and format for the drawn or painted image.
Next comes the process of translation, of plotting out and blocking in the composition. Adjustment and re-adjustment play an important role and, with a painting.
I find that using what I call my ‘thinking palette’ alongside the actual mixing surface enables me to progress steadily to a point where I begin to feel that the painting is taking on a life of its own.
My preferred painting medium is now good quality acrylic. Between sessions I keep the ‘thinking palette’ referred to here (a melamine surfaced white board) in an old decorators roller tray with some water in the deepest section and a sheet of perspex to cover it. This keeps the paint moist and workable for months on end.
With my charcoal drawings the process is similar but more demanding as the means at my disposal are apparently more limited and a strong statement needs to be made with tonal gradation and texture.
Once individual pieces reach a resolution then presentation of imagery in sequences becomes very important to me. Recent projects like my Turning Year Collection and Ten Years of Lafrowda Paintings are examples of the way I want to communicate in my art.
Managing my own website is immensely important for me in that through it I can project such visual ideas so much further.