P28 6 Copy
Porthleven 28   70x50cms



A new photo with the Nikon - close to the truth. 

The painting works both ways. In a portrait-format, perhaps Porthleven is more defined, with the distictive flick outwards of the front pier and the harbour curving to the right ...the rose fork, now more prominent, defining the gap between piers.  As a landscape, its more of a cubist space, with viewpoints intermingled, less defined....


P28 5 Copy



A feeling the painting was slipping to the bottom-right corner - a few extra lines of movement lift the eye...always looking for a stronger piece, I tried something towards the end of the day. Harlequin...I might be will have to wait.


P28 2 Copy


P28 3 Copya.m.


I've described the end of a painting as a sequence of green lights, where each painting decision /action seems to be the right one and I think we are there or nearly there with this piece. A late night session after a couple of pints in The Ship turned this painting around. I think the large angled yellow shape in the foreground is a thing of beauty, its purity and crisp edge setting off the complexities of the paint and drawing behind. The shape came from a diamond-shaped patch of light on the studio floor. It's sunny again - unreal.

It's fafantastic to look at the painting from 20ft away, with the soundtrack of the sea. It's an art trying to get a good photo with an iphone!


P28 4 Copy



P28 1 CopyOpen Studios in The Old Lifeboat House, Porthleven



P27 CopyPorthleven 27 - (Hinge)   180x60cms


This painting is a response to the theme of 'Borders', the inaugural Newlyn Society of Artists exhibition at their new home at Tremenheere in early 2017.  The reference is how I define my work, on the 'borders' of abstraction and figuration.


TUES 7 JUNE 2016

 Far, far stronger now -  it's done. The verticality of the painting is reinforced by the stacked and levered curves and the long vertical on the right, cutting through the paint. Much more movement. Poured pinks and purples shake up the colour, setting off the greens. The canvas divide is now integral, linking to the higher horizontal of the green pier. In a discussion about the painting, Janie M McDonald, commented on how the green curve coming in from the left and the reverse curve of the purple made the painting appear hinged, 'with the possibility of flipping' where they join, as if the vertical orange strip could flip backwards and forwards 'over and over as an animation'


P275 Copy



P276 Copyin the studio


P274 Copy


I've been struggling with the shape and scale of this piece for the past few days, at 180cms is is the largest painting yet in the Porthleven series. I feel I'm getting closer with the colour and harbour-shape (4). There is greater clarity but It's looking a bit too controlled. Much has been lost: the sea has gone backwards, the red/orange is too flat and the bottom panel feels a little disconnected. I have in mind a fat, off-vertical line of force - a slightly paler turquoise with streaks of pink - that runs from top to bottom of the canvas, crashing through the gaps between the piers. It will bring life/light/movement if I get it right. I'll be re-drawing tomorrow and cutting/scraping through the paint to bring out the hidden colours and energize the surface.

P273 Copy


P272 Copy


P271 Copy

COG1 Copy
City of Glass 1     150x120cms


'City of Glass 1' was joint-prizewinner in the 2012 Canvas & Cream Art Prize, London, selected for the 2013 National Open Art Competition and shortlisted for the 2013 Royal Academy Summer Exhibition.



On an earth-red base-colour, the painting began with a series of long drips, using gravity to establish the avenues, or the city blocks between the avenues. I love watching liquid paint drip downwards, the consistency of the oil-paint crucial. The drip is a mix of control and chance: the placing of its beginning is deliberate but the drips do not always flow straight, sometimes veering off to make beautiful angles. In this painting, Manhattan was deliberately de-cluttered and isolated, revealing its island-shape and its curves, beginning the dialogue with the straightness of the avenues and cross-streets. Manhattan hangs, meat-like, from the crisp structural line at the top of the painting. I've never painted blues like these before. Taking inspiration from the novel, I originally intended to introduce one of the letters that spell THETOWEROFBABEL into the painting but decided there was no need: the Upper West Side, one of the key locations in the novel*, was already emphasized, with precisely scored lines, like a blueprint. Nor was there a need to introduce a building, the new Babel: architecture was implied in the grid pattern of the streets. After all the new Babel does not exist: it is' there but not there', in the mind of the character of Stillman. The key locations in the novel are indicated by tiny green dots: it is for the viewer to become 'detective' and find the clues and links to the text.


COG1 1 Copy




COG1 5 Copy



COG1 3 Copy



COG1 4 Copy


*'The New York Trilogy' by Paul Auster

COG2 Copy
City of Glass 2 - (Hotel Harmony)   150x120cms


'CIty of Glass 2  - (Hotel Harmony)' was shortlisted for the 2013 Royal Academy Summer Exhibition and exhibited in the 2012 Ludlow Open.



Big, big battle with this painting - finished at 3.30 a.m. Elation and relief. My head is buzzing with ideas for the next paintings. I am thrilled with this way of working, finding possibilities and direction for paintings in text (Paul Auster's novel, 'The New York Trilogy'). In the studio, I am surrounded by drawings and maps and maps of drawings but the book is driving the paintings and constantly referred to and images are flying off the page. I am reading it in a different way as well: instead of a fluid whole, I am taking fragments and collecting information, 'fictional-facts', to use in the paintings. The book itself has changed physically during the process, now battered and covered in paint. 


COG2 5



In City of Glass 1 and 2, I have been concerned with depicting the facts of Manhattan being an island and its extreme verticality. To achieve the first, I de-cluttered the map to reveal the pure shape. The verticality is emphasised both by orientating Manhattan itself on the (just-off) vertical, then by using long drips of paint to form the avenues. It was amazing to see the buildings and architecture of New York implied within the grid-pattern of the streets.

With this new painting, I think the idea of a diptych with 'City of Glass 1' confused the issue - maybe I was trying too hard to do the same painting but with Manhattan on the left. Unlike 'City of Glass 1', I could not fix Manhattan into the flat, empty space: the drawing was not strong enough or graphic enough and I had a big problem with the Bronx/East River curve.


COG2 2 Copydetail 1 -the curve of Broadway


COG2 4 Copy


The red stripe in this painting was introduced to smash the space, with the deliberate proportions of the Twin Towers referred to in in the novel (it was written in 1987. The stripe also suggested a window, a la Rothko, and implied a building of such great height that the whole of the island-shape of Manhattan can be seen below. This ties in with the biblical reference of the Tower of Babel embedded in the novel, a building so high that a man would have to walk three days to escape its shadow. ( this image will drive the next painting in the series). Initially, the stripe was too crude and my biggest critic, Denise, didn't like it at all.. The stripe was softened, refined, and expanded into the right-side of the painting. I hit upon the idea of introducing a second curve, the curve of Broadway from W103St to W108St , to mirror the East River curve. So in effect, the right-side is a blown-up version of an area on the left-side, the Upper West Side, significant to the novel - the location of the Hotel Harmony and the home of author/detective Quinn. This is the breakthrough in this painting, this repetition, this link, this duality and subversion of scale. The building on the right creates balance but is also ambiguous, the horizontal grid of the facade simultaneously being the cross-streets. This is the territory I've been exploring throughout my career.  I love the duality: the visual and the context working in harmony. In formal painting terms, the small blue rectangle is exquisitely proportioned, pulsating against the surrounding orange. It is also the Hotel Harmony.


COG2 6 Copy
detail - Hotel Harmony


Denise likes the Painting.



COG2 1 Copy


Only one way to find out if Manhattan works better on the left!
I think the background will be a silvery- blue tomorrow. This might be a diptych, with this one as the left side.

 Only one way to find out if Manhattan works better on the left! I think the background will be a silvery-blue tomorrow. This might be a diptych, with this one as the left-side.

COG3 CopyCity of Glass 3 - (Window)    150x120cms


15 MAY 2012

The Tower is revealed, dwarfing Manhattan. After City of Glass 1 and 2 , with Manhattan placed on the extreme right and extreme left of the canvases respectively, in this painting Manhattan is deliberately centered, balancing on the bottom edge. The left side of the Tower was slashed deliberately to break the symmetry. In the studio shot below, taken after the first session, you can see how the drips misbehaved on their way down. I like the way Manhattan appears caged in and almost human-like, Baconesque. This could be an idea for another painting - in my work, the paintings feed each other, ideas often disappearing are-emerging in another piece. The ziggurat-shape in this piece comes from the mythology of the Tower of Babel and the Paramount building in New York. Central Park becomes a 'window' and the building appears ablaze...


COG3 1 Copybeginnings...



COG3 2 CopyThe Paramount Building, New York