Mixed media, and embedded objects on cement on canvas. 40cm sq

This is a passing, a transition from one state to the next. It is signified in material but concerns the ethereal and intangible. There is no legacy, only values lost forever.

Here and There


here and there v2 sm

Mixed media and acrylic on canvas 40cm sq

No rudder or compass, the vessel floats free. It is everywhere and nowhere. It is mythical sailing in stories of fantastic voyages of the imagination. It is full of empty  dreams. We keep vigil as it crosses our horizon.


Contained Assertions

contained assertions 1sm

Mixed media and acrylic on canvas 40cm sq

Truth is examined, honesty held up to scrutiny. Beauty, no longer safely in the eye of the beholder, is in peril. Added value fails to keep the balance sheet clean. The square is without compass.


Illusion of Inclusion

illusion of inclusion sm

Mixed media and acrylic on canvas 40cm sq

There are barriers some are subtle others plain. A net is more than a barrier, it catches and holds. The frayed edges soften the impact; maybe they are time worn, as if by tradition. The net sorts and separates, being caught in the net is being caught out. Included yet excluded.



Sea Shell Sky

sea shell sky v2 sm

Mixed Media and acrylic medium on canvas. 40cm sq

What might be a landscape or seascape is turned to form another plane or reality. The boundary between surfaces and realities is blurred. Scale becomes ambiguous. The crusted edges either coast or shell, the pearl-shimmer horizons are twisted from the horizontal.


What we say if we listen.


Mixed media on canvas 20″ sq

A seashell and other objects are embedded into and onto the canvas. The shell although like an ear is as much sending as catching a message in the form of a cloud whisper. What might be a landscape or seascape is turned to form another plane or reality.


Transcending the Presence

Transcending the Presence : The Lucid Moment


Mixed Media and acrylic on canvas. 40cmsq
There is a suggestion of an angel, perhaps in transition from an earthbound reality. The collaged fragments are from a magazine article on the aerial photography of Edward Burtinsky. There is a mix of plan and elevation and of object and image.

Hidden Repeats

In two parts this piece is an extension of the Limitary Patterns theme. The work incorporates borders and sections, boundaries and edges. This developed during the making to include matching transitions of pattern across the canvas edges on all sides. This is similar to, but not exactly a hidden repeat pattern.

The two parts are 40cm sq in mixed media and collage on cement on canvas.

Part 1

Hidden Repeat part1 sm

Part 2

Hidden Repeat part 2 sm

There are variations therefore in the way these can be arranged and seen.

Perm 4
these are the 4 basic permutations although each of these could be viewed ‘upside down’.
Hidden Repeat perm 8

They can be arranged as a pattern

Hidden Repeat sm

Night Leaves

Mixed media including bitumen and cement with assemblage on canvas
2014  8″x 8″ x 2″

A continuation from the ‘bare roots’ series, this piece relies more on composition and texture. The natural colour of the cement ground is more obvious.
In Night Leaves there is also a more deliberate attempt to create a sense of allegory.

Something of the Night



Mixed media including bitumen and assemblage on canvas.

2014  8″ x 8″x 1″

This contiuation from the Grass Roots series aims at a darker allegorical meaning.


Bare Roots and Other Things Unearthed

Bare Roots I

A series of three small (8″sq) paintings using mixed media and cement on canvas.


Bare Roots II


Bare Roots III


Bare Roots; the origins revealed or left by paring to the essentials. Again this concerns beginnings. A continuation from the ‘grass roots’ series, these pieces rely more on composition and texture and surface. The natural colour of the cement ground is more obvious than in many of the other pieces.

Grass Roots

A series of four small (8″sq) paintings using mixed media and cement on canvas.

Grass Roots: the origin or basis of something; the basic or primary concept, rule, part, or the like. Again this concerns beginnings. Each piece started with a fragment of grass root from local moorland. These pieces also use collaged fragments of imagery created through digital manipulation of my landscape photography.

Grass Roots I

Grass Roots II

Grass Roots III

Grass Roots IV


At the moment the phrase digitachism brings no results on Google from which I guess that it is a term unused before now. I have coined the word to describe artwork made digitally but in the spirit of Tachism. Digital Tachism.

“Tachism, French Tachisme, (from tache, “spot”), style of painting practiced [sic} in Paris after World War II and through the 1950s that, like its American equivalent, Action painting, featured the intuitive, spontaneous gesture of the artist’s brushstroke. Developed by the young painters Hans Hartung, Gérard Schneider, Pierre Soulages, Frans Wols, Chao Wu-chi (Zao Wu-ki), and Georges Mathieu, Tachism was part of a larger French postwar movement known as Art Informel, which abandoned geometric abstraction in favour of a more intuitive form of expression. Art Informel was inspired by the instinctive, personal approach of contemporary American Abstract Expressionism, of which Action painting was one aspect.”

“Like their American counterparts, the French-educated Tachists worked with a loaded brush, producing large works of sweeping brushstrokes and of drips, blots, stains, and splashes of colour. Their works, however, are more elegant and lyrical—often including graceful lines and blended, muted colours—than the works of such American painters as Jackson Pollock and Willem de Kooning, on whom the French artists modeled themselves. The Tachists were also less indebted than were the Action painters to uninhibited psychic inspiration.”
The Editors of Encyclopædia Britannica

When processing and layering images with blending modes and effects I am aiming for the unconscious, intuitive, spontaneous and instinctive in decision making. Serendipity born of technology and a poetic response.

The Antithesis series is my first work in this method.