I build each painting over time. Acrylic, oil and charcoal go down, get scraped back, are covered, then resurface. The work is autobiographical and geographical simultaneously. Yorkshire moors, Cornish cliffs, family memory, are the slow drag of an undercurrent that runs beneath the visible image.

Earlier states stay partly in view. A line from the first sitting shows through paint from the fifth. A rubbed area holds the trace of what was put there and pulled off. The surface keeps the record.

The marks are specific. A whispered graphite drift.  Abrupt and shouty brushwork. Dense accumulations of pigment. Raw canvas left bare. Scale and rhythm do the work that image alone cannot. my personal mythology, memory and the body sit beneath the visible surface, recoverable in fragments.

The paintings ask for the same attention they were made with. Time, slow looking, a willingness to see what is half-buried alongside what is on top