An aside reflection:



late Middle English (in the sense ‘bring (a person) into a place or group’): from Latin introducere, from intro- ‘to the inside’ + ducere ‘to lead’.

The origin of words fascinates me – meaning first, definition later.  I like words, I like poetry in particular when it is poetry which tries to clarify what it is to be alive. Painting can clarify what it is to be alive.  I can only make paintings whilst I am living – I have to be sentient – this is true.  The haptic sense is as important as the visual when I am painting. Haptic is more primal, unifying, doesn’t recognise cultural differences.
Haptic feedback on a computer screen – can this be equated with the act of painting, and if so, how to articulate it?

At the same time as getting to grips with both the style and content of this blog, I must also introduce myself.
This is the task for each of us in the MA Visual Arts: Fine Art (digital) group at UAL Camberwell, prior to our Skype meet up next Tuesday.


Brief description of my work 

Over many years, I have come to understand my painting as a cultivation of the Negative Capability embodied by the medium and the supporting surface, developing a studio-based practice which attempts to articulate this. CV.

I am particularly interested in how processes such as homeostasis and Brownian motion might be embedded in painting, to manifest as an open question concerning a commons. For me, a painting’s potential is defined by that which it does not possess; it stands as a reflection of the inherent lack of certainty that characterizes our lives. A painting does not need to be clever – things can never really be fully worked out – it exists in uncertainty. Dealing with the physical and historical stratifications inherent in working with the oil medium, is like a mining, with all its implications.

As a painter I would like to contribute to the MA Fine Art (Digital) research project at UAL Camberwell, that’s exploring and defining what art is in the digital age.


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