Artist Statement

Representing the human figure is more appealing to me than other alternative subjects, mostly because it provides me with a definite object that is immediately identifiable by any human being. In addition to this, it's the area of painting that most satisfies my thirst for investigating the methodology of what is considered traditional representational figurative painting.

The Human body provides a perfect subject for investigation into colour, tone and form because it provides you with a huge variety of each of these elements in one object. In addition to this, the human figure is so familiar to us that it forces the viewer into confronting what they understand so instinctively and to perhaps rebuild a new understanding of the figure based around form, colour and tone on a two dimensional surface. I view this as a transformation in the way that the brain translates what is seen. This transformation I believe is necessary for every painter to go through, and for me, the figure happens to be the most stimulating and natural path for me to pursue currently in order to fully submerse myself into understanding the formalities of painting.

 This transformation is essentially what my work is about, it is only the beginning of a long investigation into breaking down painting and painting theory and formulating a solid ground of knowledge to which I can expand on indefinitely.

The artists that I have studied in great depth are John Singer Sargent and Odd Nerdrum. Both are entirely different in their approaches to figurative painting. Sargent gives me an insight in to method and process whilst Odd Nerdrum gives me an insight into contemporising figurative painting and playing with paint as a medium in a more innovative way.

The method of painting i use was first realised in Europe in the 17th Century and still is taught today in representational painting ateliers across Europe. The method deals with Chiaroscuro painting (light-dark contrast) which very much identifies with a traditional theme. It creats a definite drama within painting that when pushed and pulled or exaggerated in certain ways can enable you to really explore the power of light and dark in controlling a paintings whole appearance.