Archive – Canvases

15131 MW03

Manhattan Window 3


Oil on canvas 40.0 x 40.0 inches. The Manhattan series explored a grid-based composition in various formats (square, oblong, double-square) and sizes (from 10.0 x 12.0 inches up to 40.0 x 40.0 inches) but with subtle variations of colour and tonal combinations each time to differentiate them. Manhattan Window #3 is an example where such variations contrast the most and is now owned by a private collector

15004 MW02

Manhattan Window 2


Oil on canvas 40.0 x 40.0 inches. A walk around the Meat Packing district of Manhattan some years before generated some rich visual research, that in turn became strongly focussed on boarded-up windows in old warehouses ahead of being converted into expensive apartments. Boarded-up on the inside in case the glass panes in the window frames were vandalised, the seemingly randomly painted off-cuts of wood had faded over time. This painting evokes the physical elements of the multi-paned window and used considerable textured layering to express a sense of time passing, and of waiting

15005 Patched Wall 01

Patched Wall


Oil on canvas 40.0 x 40.0 inches. Having worked so loosely through the latter part of 2013 and entire 2014, early 2015 saw a return to more controlled and organised composition. Patched Wall however benefitted from the previous year’s focus on ‘over-allness’ and layering techniques. Its patching ‘design’ and colour cues were taken from Bodie’s source material

14004 Embers



Oil on canvas 39.5 x 39.5 inches. Embers is a typical example reflecting a period of experimentation throughout 2014 where a looser approach to creating surface texture and layering seemed needed. It was also a response to seeing Gerhard Richter’s ‘Cage’ paintings in Tate Modern and a desire to explore similar processes. Compositional planning and design has been largely eliminated in favour of a more organic, accidental and formative approach to painting

13011 Red Rock

Red Rock


Oil on canvas 39.5 x 39.5 inches Derived from rusty decay on the rear side of a metal sign marking the entrance to Red Rock National Park, this painting explores combining a wide range of tools at different stages in its making

13019 Tucson



Oil on canvas 48.0 x 60 inches After some time has elapsed, the giant walls of aircraft sheds in and around Tucson, Arizona start to become pitted with small flecks of corroded paint falling to the ground. The ‘livery’ of the painting very much reflects the pale colours chosen by many of these museums for their buildings and which, interestingly, reflect the colours seen in the sky and landscape

13012 Ash Fork

Ash Fork


Oil on canvas 48.0 x 36.0 inches This painting has ended up with colours completely unrelated to the doors observed in a closed-up property beside Route 66 in Ash Fork, Arizona yet the essence of the doors are clearly present: a patched up panel; vertical decay; abandonment

13009 Bodie Wall



Oil on canvas 48.0 x 60.0 inches The planks made from pine used to form the outer walls of the properties in Bodie, a town abandoned for over a hundred years once the gold and minerals had dried up, have been bleached and stained from the actions of the northern California climate: metal bars, nails and iron patch inserts, their rust and decay bleeding into the grain as if all the separate materials are becoming one

13006 Big Pine

Big Pine


Acrylic & oil on canvas 47.0 x 47.0 inches Almost a faithful portrait of a garage door in Big Pine, California, its ‘window’ panels made up of different materials (glass, perspex, wood, metal, plastic) all decaying and ageing in different ways and at different rates. This painting combines sections where acrylic medium has been used to capture the characteristics of the original door, and elsewhere oil medium to contrast with this. The ‘graphic’ and ‘design’ elements inherent to the door were an appealing juxtaposition to the more organic approach taken with the rest of the work in the Road Trip series and culminate in a striking image

13002 Hackberry



Oil on canvas 39.5 x 79.0 inches The rusting corrugated walls of the gas station and store in Hackberry, Arizona, beside Route 66, proved hard to resist. The patches of different sizes of sheeting, repairs, combinations of painted and unpainted sections, patches painted different colours, areas rusting faster than others – all seemingly a living surface and an evocation of the passing of time

13018 Golden Gate

Golden Gate 2015


Golden Gate 2013 Oil on canvas 54.0 x 72.0 inches. Inside Fort Baker’s complex of subterranean spaces overlooking San Francisco Bay is a group of colour washed walls that have faded over time thanks to the damp and salty air. This painting was always meant to be a large piece and at a scale to adequately reflect the elements drawn from the source. It now forms part of the University of Winchester’s permanent collection having been acquired in

Out of Time

Out of Time


Oil on canvas – 30.0 x 30.0 inches. Out of Time was the last example exploring the basic elements of 2 (off-set) doors and a single red ‘fire’ panel, positioned here along the right-hand edge of the painting. The traces of previous compositional arrangements can be clearly seen poking through the final layer of blue-grey colour, expressing a sense of the arrangement being in its final possible incarnation

Zero Hour

Zero Hour


Oil on canvas – 40.0 x 30.0 inches. Zero Hour marked a significant development in my Panels series in that it was the first to display a more sophisticated approach to compositional formation. The green ‘active’ panel is contrasted and balanced by the ‘passive’ panel in the top right-hand corner, the former crossing both ‘doors’ and the latter firmly wedged, or overlapped by the left-hand ‘door’. This was the first painting to incorporate a ‘petrol blue-grey’ for its final layer, a colour much favoured for these works

Orange Square

Door with an Orange Square


Oil on canvas – 40. x 30.0 inches. This early example of the Panels series is possibly the closest (in terms of likeness) to its original source photographs and drawings. I noticed a pair of large wooden doors in a village near Nardi that had been ‘patched’ with a square piece of orange painted wood to cover a hole. The audacity of this somewhat incongruous act caught my imagination and encouraged me to explore the idea on canvas