Please tell us more about your working process, routine, your studio set up and the way you approach new artworks.
I get into the studio usually after an early morning walk on the moors with my dog. The walk is ideal preparation time, allowing for reflection. In the studio there are stacks of (shop purchased) ready stretched canvases and canvas boards. I have returned to the process of cutting the primed cotton away from the stretcher. This has the advantage of enabling me to work on both sides of the canvas. I always have a number of pieces of canvas, paper and boards on the floor, in various states of beginning. Other works are on the walls (or easel) and these tend to be the ones I consider are currently in some interesting state. I attempt to begin straight away. I’m engaged with drawing and allowing paint to be paint on the taught or loose plane of the support. This is the initial attempt to begin to open up a space for a dialogue. One piece generally captures and holds my interest and I concentrate on that one usually for the rest of the session. The practice is one of trying to be in the moment during the act of applying, removing and the adjustment of liquid colour over the surface – just being present that instant when some form of dialogue begins within each work. I spend the day in the studio until around 4pm. In the evening I may return to continue to paint or more likely I’ll work on some drawings.