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As a child, I was always drawing. With parents who had a great interest in the arts and culture, I was regularly taken to the Kelvingrove Art Gallery and Museum from an early age. The great paintings in the galleries enthralled me – I was hooked.
Studying Drawing and Painting at Glasgow School of Art, I was schooled in life drawing and in many technical aspects of painting in a wide variety of media – a very rich and powerful art education, covering many genres and eras of fine art. However, the portrait and human form has always intrigued me, from the study of a single figure to a lively painting with many figures and complex narratives.
I follow traditional methods of painting, which involve strong draughtsmanship, skilful techniques and manipulation of paint – particularly the practise of applying glazes and layering colour. Skin, fabric, wood, glass, metal and all other items in my paintings each require an appropriate technique and methods to capture their individual characters and textures. I am passionate about my continued development in these areas.
I am a narrative painter, fascinated by human interaction and its many subtleties – particularly with solitude and loneliness, despite us living very busy lives in bustling cities and towns (as is portrayed in many of Edward Hopper’ s paintings). This was also true of some of the films from 1950s Film Noir – many of which, I am a big fan. My themes vary from people making a voyage, giving a gift, enjoying food and drink; and much of my work is about catching a moment in time – that moment of interaction that is tight with mystery and emotion.
Most of my work (although not all) has a 1940s and ’50s theme. Adding great richness to this has been my work with the Glasgow burlesque club, Club Noir, who have featured as characters in my paintings over the last eight years. Their input and support has been an absolute treasure to me and I am proud to have these wonderful people in my paintings and in my life.