“I have drawn and painted for as long as I can remember. Turning pro, my most serious early mentor was the painter Nick Samsworth, who I met at my first exhibition and went on to work alongside for years (85-88). Nick had done his MA at Chelsea School of Art in the 70s, and been exhibited with Bridget Riley among others; he is currently Head of Art at Hereford College, and producing original work to this day.
“My other early sensei was the late Miles (Peter) Richmond, pupil of the great David Bomberg and founder-member of the influential Borough Group (1946). While Nick Samsworth helped my thinking about paint and its potential, Miles was on another, historical level. Not only was he a direct conduit to Bomberg - one of the most interesting figures in British art - he, Miles, at age 70 had a lifetime of his own insight to convey. Breaking down Bomberg’s concept of the spirit in the mass with his most devoted disciple - and subsequently refashioning elements of it for myself - are critical affinities.
“Other influences include the artworks and ideas of people like Kosuth, Reinhardt, Cranach, Charlesworth, Fontana, Newman, Ernst, Serra, Blake, Weiner, Moreau, Klein, Dadd, Shiraga, Holzer, Still, Latham, Martin, Arakawa, Kruger, Motherwell, Ruscha et al. Further ideas are drawn not only from from art criticism & aesthetics but also more widely from history, literature and science. Above all, nature remains my founding inspiration, especially in its human dimension - the primary focus of Here Lies.
“Thanks to York University, I’ve a strong grounding in classical, empiricist and analytic philosophy, and contemporary European thought. My honours thesis was on the art/truth dyad in Adorno’s
Aesthetic Theory. Post-graduate work at the Royal College of Art, initially along the axis Batille/Lacan, led me to Girard & Gans, Dumouchel & Dupuy
et al and the groundwork for one strand the ‘new thinking’ embodied in Here Lies