My work exists in the tradition of northern romantic painting and expresses a visual and emotional response to a specific landscape at a specific time and season. The saltmarshes of the north Norfolk coast - a landscape that hides, is immersed, whose changes are slow and occur in a remote temporal and spiritual relationship to the viewer – have been my object of study for many years. Increasingly my work seeks to evade point of view and linear narrative of composition, as well as the use of gesture to imply an iconographic representation. Instead it seeks to offer a spiritual consideration of landscape and its meaning as a visual event. I work on aluminium panels, usually with a ground of enamel paint, using numerous thin colour glazes of oil to achieve the sensation of volume.
My points of reference have been found in those painters who have sought to relocate the mysteries of religious and spiritual feeling in landscape: Caspar David Friedrich, Turner, Rothko. My approach is a less human-centred mode of perception of the unwitnessed changes of the saltmarsh.